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PWVATi:  LIBUAUY 

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WAYNft   1\    SM/TJST 


SSoIfgang  ©oetfje. 


Ibeatb's  flDobern  Slanguage  Series 


EDITED    BY 


CALVIN    THOMAS 

PROFESSOR  OF  GERMANIC  LANGUAGES  AND  LITERATURES,  COLUMBIA  UNIVERSITY 


VOLUME  I :  THE  FIRST  PART 


BOSTON,    U.    S.    A. 

D.    C.    HEATH  &    CO.,    PUBLISHERS 
1902 


Copyright,  1892, 
D.  C.  HEATH  &  Co. 


PRINTED   IN 

UNITED   STATES 

OF   AMERICA 


PREFACE. 


IN  undertaking  this  edition  of  Faust  I  was  actuated  chiefly  by  a 
desire  to  promote  the  study  of  the  poem  as  a  whole.  It  is  not  the 
place  here  to  discuss  the  misconception  which  has  prevailed  so 
long,  and  to  some  extent  still  prevails,  concerning  the  Second 
Part  of  Goethe's  masterpiece.  Enough  that  it  is  a  misconception 
to  regard  it  as  a  mass  of  riddles,  allegories  and  deep  abstractions 
requiring  some  sort  of  occult  wisdom  for  their  « interpretation.'  It 
is  a  mistake,  too,  to  regard  it  as  in  any  sense  a  senile  afterthought, 
or  as  the  product  of  decadent  poetic  powers,  or  as  uninteresting. 
Let  it  not  be  supposed,  either,  that  these  sweeping  statements  of 
mine  are  only  the  confident  proclamations  of  a  new  mystagogue  who 
thinks  that  he  has  found  the  key.  For  the  simple  truth  is  that  no 
key  and  no  special  order  of  intelligence  are  needed.  The  Second 
Part  of  Faust,  to  be  sure,  is  not  literature  for  children,  or  for  the 
weak-minded,  or  for  the  very  indolent,  but — neither  is  the  First 
Part.  I  only  wish  to  urge  here  that  any  one  who  reads  and  enjoys 
the  First  Part  (by  which  I  mean  the  whole  First  Part  and  not  simply 
the  love  story),  should  be  able  to  read  and  enjoy  the  Second  Part 
also.  If  he  fails  at  first,  his  failure  will  be  due  probably  to  one  of 
three  causes :  either  he  lacks  interest  in  some  of  the  large  ideas 
that  interested  the  maturer  Goethe ;  or  he  has  not  made  himself 
sufficiently  at  home  in  that  dream-world  of  tradition  which  underlies 
the  Faust-drama,  or,  possibly  his  vision  has  been  obfuscated  by  one 
or  more  of  those  well-meaning  but  misguided  persons  whom  the 

0) 


11  PREFACE. 

late  Friedrich  Vischer  called  allegorische  Erkldrungsphilister .  In 
any  of  these  cases  let  him  first  correct  the  personal  difficulty  —  a 
thing  not  hard  to  do  —  and  then  let  him  read  the  Second  Part  of 
Faust  as  he  reads  other  good  poetry :  with  a  free  play  of  intelli- 
gence to  respond  to  its  infinite  suggestiveness,  but  without  ever 
imagining  that  the  text  is  a  Chinese  puzzle.  Doing  so  he  will  find 
that  he  has  gained  a  permanent  source  of  high  enjoyment  —  enjoy- 
ment of  a  kind  (if  his  experience  is  at  all  like  my  own)  that  he 
will  soon  come  to  prefer  greatly  to  that  derivable  from  the  painful 
tragedy  of  sin  and  suffering  with  which  the  First  Part  closes. 

As  to  the  animating  spirit  of  my  work  it  is  needless  to  speak  at 
length ;  that  will  appear  best  from  the  work  itself.  I  have  wrought 
as  a  philologist  and  a  lover  of  definiteness.  Taking  for  granted 
the  fascinating  power  of  Faust  I  have  made  it  my  aim  to  contribute 
to  the  understanding  of  it  rather  than  to  inculcate  any  particular 
views  with  regard  to  it.  I  have  not  been  troubled  by  the  solicitude 
one  sometimes  hears  of  in  these  days,  that  preoccupation  with 
philological  details,  i.  e.,  the  attempt  to  get  accurate  knowledge  of 
the  particular  matter  in  hand,  could  by  any  possibility  in  the  long 
run  injure  the  philosophical  and  aesthetic  appreciation  of  the  whole. 
On  the  other  hand  a  multitude  of  warning  examples  made  it  both 
easy  and  necessary  to  keep  in  mind  the  dangers  that  arise  from 
importing  one's  own  '  philosophy '  into  the  poem  in  advance  of  a 
careful  historical  study  of  its  genesis  and  a  thorough  philological 
mastery  of  the  text. 

My  text  aims  to  be  an  exact  reprint  of  the  Weimar  edition.  I 
hesitated  somewhat  about  the  use  of  the  official  spelling,  but 
decided  not  to  introduce  it.  I  do  not  see  how  it  is  possible  to 
devise  sounder  principles  for  the  recension  of  Goethe's  text  than 
are  those  adopted  by  the  Weimar  editors.  To  depart  from  these 


PREFACE.  Ill 

principles  in  the  matters  of  spelling  and  punctuation  would  hftve 
been  opening  the  door  to  subjective  caprice  without  accomplishing 
any  discernible  good  whatever. 

I  have  of  course  endeavored  to  profit  by  the  labors  of  preceding 
editors,  critics  and  expounders,  of  whom  a  list  of  the  more  impor- 
tant will  be  found  in  an  appendix.  In  dealing  with  a  subject  like 
Faust,  about  which  such  mountains  of  literature  exist,  it  is,  in 
general,  possible  to  attain  originality  only  at  the  expense  of  either 
truth,  usefulness  or  importance ;  and  my  aim  has  been  to  be  useful 
rather  than  to  seem  acute  or  learned.  I  have,  however,  from  first 
to  last  tried  to  work  independently,  i.  e.,  to  go  to  first-hand  sources 
of  information  and  derive  from  them  my  knowledge  and  my 
impressions.  In  the  notes  I  have  as  a  rule  avoided  controversy 
and  the  rehearsal  and  discussion  of  conflicting  views.  My  method 
has  been  to  form  my  opinion  from  the  data,  then  to  read  what  the 
various  commentators  have  to  say,  changing  my  own  opinion  where 
necessary,  and  then  to  present  my  final  conclusion  without  argu- 
ment. In  dealing  with  matters  of  fact  which  I  could  verify  I  have 
not  always  been  particular  to  name  the  writer  who  first  called  my 
attention  to  the  primary  source  of  information,  but  have  proceeded, 
like  most  of  my  predecessors,  on  the  Roman  maxim  quod  bene  dic- 
tum est  meum  est.  On  the  other  hand,  in  dealing  with  matters  of 
opinion,  or  of  fact  that  I  could  not  verify,  I  have  endeavored 
always  to  acknowledge  all  real  obligation.  Everywhere  I  have 
essayed  the  utmost  brevity  consistent  with  a  satisfactory  treatment 
of  real  difficulties.  I  have  tried  to  waste  no  words  in  trivial, 
obvious  or  useless  comment.  Citations  possessing  only  a  curious 
or  erudite  interest,  but  not  needed  for  scientific  illustration,  have 
not  been  admitted.  I  have  also  avoided  any  attempt  to  do  the 
work  of  an  etymological  dictionary  or  a  historical  grammar. 


IV  PREFACE. 

According  to  my  conceptions  the  one  great  purpose  of  the  editor's 
notes  to  a  classic  should  be  to  help  the  reader  enter  more  perfectly 
than  he  otherwise  might  into  the  thought  and  feeling  of  the  author. 
Philological  lore  which  would  have  been  news  to  the  author  and 
does  not  contribute  to  a  proper  understanding  of  the  author's 
meaning,  is,  in  general,  out  of  place  and  entitled  to  no  better  name 
than  pedantry.  The  rule  is,  however,  subject  to  this  limitation : 
peculiarities  of  diction,  which  pertain  to  the  author's  individual 
style  (the  style  is  the  man),  may  properly  be  made  the  subject  of 
brief  philological  comment  for  the  purpose  of  giving  the  reader,  so 
far  as  may  be,  the  author's  exact  point  of  view. 

CALVIN  THOMAS. 
ANN  ARBOR,  MICH.,  August,  1892. 


PREFACE  TO   THE   REVISED    EDITION. 


In  this  second  edition  I  have  tried  to  correct  the  mistakes  of 
the  first  and  in  other  ways  to  bring  the  book  up  to  date.  The 
Introduction  has  seemed  to  require  but  little  change.  I  have 
been  criticised  for  dealing  too  briefly  with  certain  topics,  such  as 
the  historical  Faust,  the  growth  of  the  legend,  and  Lessing's 
Faust,  but  this  criticism  is  not  well  grounded.  My  work  being 
intended  primarily  for  college  students,  brevity  with  regard  to 
unessentials  was  an  important  part  of  my  plan.  Now  the  topics 
just  mentioned  are  interesting  enough  in  their  way,  but  Goethe 
knew  nothing  about  them.  If  an  authentic  biography  of  the  old 
magician  should  be  discovered,  there  is  no  reason  to  suppose  that 
it  would  throw  any  light  on  Goethe's  poem.  So  also  Lessing's 
Faust  is  a  subject  by  itself.  There  is  no  evidence  that  it  ever 
influenced  Goethe. 


PREFACE   TO    THE    REVISED    EDITION.  V 

In  the  Notes  the  changes  are  much  more  numerous  and  im- 
portant. Corrections  that  have  been  suggested  to  me  by  letter 
or  in  published  reviews  have  been  introduced  wherever  I  have 
been  convinced.  Among  those  who  have  put  me  under  special 
obligation  are  Prof.  Witkowski  of  Leipzig,  Dr.  Blau  of  Bryn 
Mawr,  and  Prof.  Senger  of  California.  I  do  not  flatter  myself, 
however,  that  these  friends  or  any  one  else  in  the  wide  world  will 
be  entirely  satisfied  with  my  Notes  even  in  their  revised  form. 
Faust  is  a  very  difficult  subject  for  the  commentator.  It  teems 
with  words  and  phrases  the  meaning  of  which  is  uncertain  and 
which  are  differently  understood  by  the  most  competent  experts. 
Every  German  reads  the  poem,  and  every  German,  as  Scherer 
once  remarked  in  an  essay,  has  his  own  Goethe.  He  is  also 
apt  to  be  sustained  and  soothed  by  an  unfaltering  trust  that 
his  Goethe  is  the  only  true  one.  Now  an  American  whose 
feeling  for  the  German  language  is  an  acquisition  of  adult 
life  would  naturally  like  to  defer  to  those  who  should  know 
better  than  he ;  but  what  shall  he  do  when  his  natural  coun- 
sellors fall  out  and  take  to  berating  one  another?  What  I 
have  done  is  to  weigh  and  decide  according  to  my  best  judg- 
ment. I  am  well  aware  that  in  some  cases  the  decision  is  only 
too  vulnerable. 

The  most  important  contributions  to  Faust-scholarship  since 
the  appearance  of  my  first  edition  are  the  works  of  Collin,  Baum- 
gart,  Valentin  and  Witkowski,  and  the  third  edition  of  the  Goch- 
hausen  Faust  with  its  valuable  Introduction.  It  is  pleasant  to 
notice  a  tendency  to  emphasize  once  more  the  artistic  unity  of 
Faust.  In  this  general  attitude  of  mind  I  am  quite  at  one  with  the 
writers  named,  though  sometimes  at  variance  with  them  in  regard 
to  particular  lines  of  argument.  The  familiar  comparison  of 


VI  PREFACE    TO   THE    REVISED    EDITION. 

Faust  to  a  mosaic  has  a  certain  value.  When  one  looks  at  it 
very  closely  with  a  philological  magnifier,  one  sees  various  im- 
perfections ;  the  pieces  are  not  always  perfectly  fitted,  the  colors 
are  sometimes  out  of  harmony.  But  when  we  step  back  far 
enough  to  see  the  work  as  a  whole,  its  general  design  becomes 
perfectly  obvious  and  the  little  imperfections  fade  out  of  sight  or 
no  longer  offend  the  eye.  But  shall  we  then  deny  that  they  exist, 
and  be  over  anxious  to  explain  them  away  ?  There  are  those  who 
seem  to  feel  that  what  we  call  artistic  unity  must  involve  per- 
fect congruity  in  every  detail.  For  them  even  the  '  Intermezzo ' 
is  sacrosanct;  it  must  be  shown  to  be  just  the  right  thing  in 
the  right  place  or  else  the  whole  Faust  is  a  failure.  But  this  is 
going  too  far.  The  student  of  Faust  must  learn  to  pick  his  way 
discreetly  between  the  Widerspruchsphilister  and  the  Einheits- 
philister  without  being  taken  in  by  either  of  them.  I  may  be 
pardoned  for  thinking  that  my  edition  will  help  him. 

C.  T. 
NEW  YORK,  June,  1898. 


INTRODUCTION. 


I. 

PRELIMINARY   REMARKS   UPON   FAUST    AND   THE   STUDY   OF   FAUST. 

IT  was  as  early  as  1769  that  the  mind  of  Goethe,  then  a  youth 
of  twenty,  began  to  be  teased  by  the  alluring  problem  of  a  Faust- 
drama.  After  musing  on  the  subject  some  three  or  four  years,  he 
put  pen  to  his  work,  little  thinking,as  he  did  so,  that  this  particular 
poetic  project  would  be  the  great  task  of  a  long  lifetime,  and  would 
leave  his  hands  some  sixty  years  hence  as  the  masterpiece  of  his 
country's  poetry. 

The  general  conception  of  the  proposed  drama,  he  tells  us,  lay 
clear  in  his  mind  at  an  early  date ;  but  from  the  first  his  procedure 
was  unmethodical.  The  legend  yielded,  or  could  be  made  to 
yield,  a  hint  for  every  mood :  poetry,  pathos,  humor,  satire,  hocus- 
pocus  —  all  were  there.  And  so  he  worked  in  a  desultory  way, 
writing  a  passage  here  and  a  passage  there,  now  a  soliloquy,  now 
a  song,  and  again  a  bit  of  dialogue  or  a  succession  of  dialogues, 
according  as  he  had  caught  the  vision  of  this  or  that  interesting 
situation.  Thus,  without  concern  for  acts  or  for  a  logical  develop- 
ment of  his  plan,  he  allowed  his  work  to  take  shape  in  a  series  of 
pictures,  leaving  the  intervals  to  be  filled  in  by  the  imagination. 
In  this  way  a  number  of  pictures  (we  may  call  them  'scenes')  had 
been  written  down  previous  to  his  settlement  at  Weimar  in  Novem- 
ber, 1775. 

Then  came  a  period  in  which  the  temper  and  circumstances  of 
the  poet  were  unfavorable  to  the  continuation  of  the  work.  In 
1788-9  a  little  more  was  written,  and  a  part  of  the  scenes  on 
hand  were  revised  for  publication.  These  appeared  in  1790  under 

(vii) 


Vlll  INTRODUCTION. 

the  title  of  Faust.  Ein  Fragment.  In  1797  the  task  was  again 
resumed  and  during  the  next  four  years  it  made  considerable  prog- 
ress. The  work  done  at  this  time  consisted  partly  in  the  writing 
of  new  scenes,  partly  in  the  revision  and  expansion  of  scenes 
already  written  but  not  published,  and  the  welding  of  this  new 
matter  to  the  scenes  of  the  published  Fragment.  During  this 
process  Goethe  discovered  that  he  could  not  complete  his  design 
within  the  limits  of  a  single  drama  and  so  decided  to  publish, 
provisionally,  a  First  Part.  This  First  Part,  still  far  from  contain- 
ing all  that  he  had  then  written  on  the  Faust-theme,  appeared  in 
1808  under  the  title  Der  Tragodie  Erster  TheiL 

Then  ensued  a  long  period  of  stagnation.  At  last,  in  1825, 
Faust  was  again  taken  up  to  become,  now,  its  author's  chief  occu- 
pation during  his  remaining  years.  The  work  done  at  this  time 
was  similar  to  that  of  1797-1801,  save  that  the  proportion  of 
entirely  new  matter  added  was  much  greater.  Goethe  died  in 
March,  1832.  The  Second  Part  of  Faust  appeared  in  1833. 

The  production  that  came  into  existence  in  this  way  holds  a 
unique  position  in  literature,  there  being  nothing  of  its  own  kind 
with  which  to  compare  it.  As  a  serious  dramatic  poem  based  on  a 
tragical  story  and  leading  up  to  the  death  of  its  hero,  it  was  called 
by  Goethe  a  « tragedy,'  though  the  ordinary  canons  of  tragedy  do 
not,  in  the  main,  apply  to  it.  On  account  of  the  magnitude  of  its 
scope  it  is  often  compared  with  the  Divine  Comedy  of  Dante.  In 
some  respects  it  resembles  a  medieval  '  mystery.'  But  whatever 
it  be  called  and  however  opinions  may  differ  with  respect  to  this  or 
that  detail,  it  is  beyond  question  the  most  important  monument  of 
German  poetry.  No  other  is  so  much  quoted  by  German  writers, 
so  much  discussed  by  German  scholars,  so  vitally  related  to  the 
intellectual  life  of  the  new  Germany.*  Nor  is  it  simply  a  national 

*  Egelhaaf,  Grundzuge  der  deutschen  Litteralurgeschichte,  p.  112.  speaks  of  Faust  as 
"  das  Werk,  ohne  das  unser  Volk  seine  Kultur,  der  Einzelne  sein  eigenes  Geistesleben 
sich  kaum  denken  kann." 


INTRODUCTION.  IX 

poem.  In  proportion  as  the  genius  of  Goethe  has  of  late  won 
universal  recognition,  so  Faust,  as  the  most  complete  revelation  of 
his  mind  and  art,  has  become  a  world-classic  whose  power  is  felt 
everywhere  by  '  those  that  know.' 

On  account  of  this  exceptional  character  the  study  of  Faust  is  a 
difficult  and  peculiar  study.  The  poem  contains  but  little  of 
abstruse  thought  —  for  Goethe  was  no  'metaphysician,'  —  but  it 
does  take  us  sooner  or  later  into  almost  every  conceivable  sphere 
of  human  interest.  Thus  the  philological  reading  of  the  text  with 
its  peculiarities  of  form  and  expression,  its  folk-lore  and  antiquities, 
its  reminiscences  of  reading  and  observation,  its  frequent  excursions 
into  unfamiliar  regions  of  thought,  feeling  and  poetic  vision,  con- 
stitutes a  task  to  which  modern  literature  since  Dante  offers  no 
parallel.  And  when  the  difficulties  of  the  text  are  overcome,  then 
there  is  the  poem  as  an  entirety.  In  a  very  real  and  important 
sense  it  has  unity,  and  so  must  be  studied  as  an  artistic  whole.  At 
the  same  time  it  is  by  no  means  free  from  incongruities.  More- 
over, owing  partly  to  its  slow  and  desultory  genesis,  partly  also  to 
the  very  nature  of  the  subject  and  of  the  poet's  plan,  different  por- 
tions differ  greatly  in  matter  and  style  and  in  the  kind  of  appeal 
they  make  to  the  reader's  interest.  The  comprehension  of  these 
various  parts,  both  in  themselves  and  in  their  relation  to  the 
whole,  is  an  important  part  of  the  study. 

But  the  essential  character  of  Faust  is  its  symbolism,  which  pre- 
sents living  issues  of  modern  culture  in  a  setting  of  old  popular 
legend.  To  acquire  a  right  feeling  for  this  symbolism,  so  as  to 
make  of  it  neither  too  much  nor  too  little,  so  as  to  get  out  of  the 
poem  in  the  reading  just  what  its  author  put  into  it,  no  less  and  no 
more,  this  is  what  is  hardest  and  at  the  same  time  most  vitally 
important.  To  aid  here  is  the  chief  purpose  of  this  Introduction. 
This  object  will  be  attained  best,  however,  not  by  discussing  sym- 
bolism in  the  abstract,  but  by  describing  minutely  the  genesis  of 
the  poem.  To  know  what  Goethe  put  into  Faust  we  must  study 


X  INTRODUCTION. 

the  origin  of  its  different  portions  in  connection  with  his  contem- 
porary moods  and  experiences.  To  understand  the  poetic  artist  we 
must  first  know  the  man  thoroughly  and  then  —  watch  him  at  his 
work.  This  is  simply  to  follow  his  own  well-known  rule : 

SSer  ben  3)td)ter  hriH  Berfteljen 
2Jhifj  in  3)ici)ter8  ?onbc  gefyen. 

A  famous  passage  from  Dichtung  und  Wahrheit  will  serve  as  a 
convenient  starting-point.  In  speaking  of  his  first  intimacy  with 
Herder  at  Strassburg,  which  began  in  September,  1770,  Goethe 
writes : 

•  Most  carefully  I  hid  from  him  my  interest  in  certain  subjects 
that  had  taken  root  with  me  and  were  now  little  by  little  trying  to 
develop  themselves  into  poetic  forms.  These  were  Gotz  von  Ber- 
lichingen  and  Faust  .  .  .  The  significant  puppet-play  legend  of  the 
latter  echoed  and  buzzed  in  many  tones  within  me.  I  too  had  drifted 
about  in  all  knowledge  and  early  enough  had  been  brought  to  feel 
the  vanity  of  it.  I  too  had  made  all  sorts  of  experiments  in  life 
and  had  always  come  back  more  unsatisfied  and  more  tormented. 
I  was  now  carrying  these  things,  like  many  others,  about  with  me 
and  delighting  myself  with  them  in  lonely  hours,  but  without  writ- 
ing anything  down.  Especially,  however,  I  hid  from  Herder  my 
mystic-cabbalistic  chemistry  and  what  pertained  to  it,  though  I 
was  still  fond  of  busying  myself  with  it  in  secret  in  order  to  develop 
it  into  a  more  consistent  form  than  that  in  which  it  had  come  to 
me.'* 

This  passage  calls  for  a  retrospect  in  two  directions.  First  we 
must  see  what  that  '  puppet-play  legend '  was  that  had  so  impressed 
Goethe  in  his  youth.  Then  we  must  inquire  into  those  personal 
experiences  which  led  him  to  see  in  Faust  a  symbol  of  himself. 


*  Werke,  XXVII.,  320.  (References  to  Goethe's  works  are,  wherever  possible,  to  the 
Weimar  edition  now  appearing.  Werk*  means  the  '  works  '  proper,  or  first  '  Abtheilung ' 
of  the  edition;  Natitnvisstruchaftliche  Schriften  the  second,  Tageb'iicher  the  third, 
Brief*  the  fourth.  Whenever  the  needed  volume  of  the  Weimar  edition  is  not  yet  out, 
the  Hempel  edition  will  be  referred  to.) 


INTRODUCTION.  XI 

II. 
THE   DATA   OF   THE    LEGEND. 

The  puppet-play  referred  to  by  Goethe  was  an  outgrowth  of  an 
earlier  popular  drama  performed  by  actors  of  flesh  and  blood. 
This  popular  Faust-drama  made  its  appearance  about  the  beginning 
of  the  seventeenth  century,  but  in  order  to  understand  its  charac- 
ter we  must  go  still  further  back  to  the  origin  of  the  Faust-legend 
itself. 

Of  the  actual  personage  whose  life  gave  rise  to  the  legend  very 
little  is  known ;  it  has  even  been  argued  that  the  whole  tradition  is 
mythical.  Modern  scholars  are  well  agreed,  however,  on  the 
strength  of  three  or  four  notices  found  in  the  writings  of  men  who 
claim  to  have  known  Dr.  Faust,  that  there  was  a  man  of  that  name 
who  went  about  Germany  in  the  first  half  of  the  sixteenth  century 
and  passed  himself  off  on  credulous  people  as  a  great  magician. 
Philip  Begardi,  a  physician  who  published  an  Index  Sanitatis  at 
Worms  in  1539,  speaks  of  Faust  in  this  work  as  a  notorious  charla- 
tan who  had  travelled  about  the  country  '  a  few  years  ago,'  calling 
himself  philosophus  philosophorum,  etc.,  and  cheating  people  out  of 
their  money  by  fortune-telling,  necromancy,  magical  healing  and 
the  like.  Begardi  was  acquainted  with  many  people  who  had  been 
deluded  by  Faust's  large  promises  and  small  performance.* 

In  an  age  when  every  one  believed  in  magic  it  was  natural  that 
people  should  soon  begin  to  credit  Faust  with  actually  doing  the 
kind  of  things  he  said  he  could  do.f  Thus,  even  in  his  lifetime, 
his  name  came  to  be  associated  with  marvellous  feats  of  magic ;  and 

*  The  historical  Faust  does  not  greatly  concern  us.  The  notices  relating  to  him  can 
be  found  in  many  places ;  e.  g.,  in  the  essay  of  Diintzer  upon  the  Faust-legend,  published 
in  Vol.V.,  of  Scheible's  Kloster,  in  the  same  writer's  Introduction  to  his  commentary  upon 
Goethe's  Fatat,  and  in  Kiihne's  '  Programm '  Uber  die  Fausttagt.  —  For  exact  biblio- 
graphical data  concerning  books  referred  to  in  this  Introduction  and  in  the  Notes  see  Ap- 
pendix I.  at  the  end  of  the  volume. 

t  Cf .  Scherer,  Das  iilteste  Faust-Buck,  p.  vi-vii. 


xii  INTRODUCTION. 

when,  about  the  year  1540,  he  met  with  a  violent  death  under  ob- 
scure or  mysterious  circumstances,  the  mythopoeic  imagination  of 
the  people  was  ready  with  its  explanation :  he  had  been  carried  off  by 
the  devil  whose  aid  had  enabled  him  to  do  his  wonders.  The  myth 
once  started,  Faust  speedily  became  a  new  representative  of  a  type 
long  familiar  to  European  superstition,  the  type,  namely,  of  the 
wicked  magician  who,  for  some  transitory  favor  of  pleasure,  power, 
knowledge  or  the  like,  sells  his  soul  to  the  devil.  What  was  in  cir- 
culation about  former  copartners  of  the  devil  began  to  be  repeated, 
with  local  additions  and  variations,  concerning  Faust.*  Thus 
grew  up  a  mass  of  fables  which,  toward  the  end  of  the  century, 
were  collected,  put  together  into  something  like  a  narrative  and 
published  as  a  Historia  -von  D.  Johann  Fausten  dem  weitbe- 
schreyten  Zauberer  und  Sch wartzkun stler.  f  This  book  appeared  in 
1587,  at  Frankfurt-on-the-Main.  Its  publisher  was  Johann  Spies, 
who  says  in  a  preface  that  he  had  the  manuscript  from  «  a  good  friend 
in  Speyer.'  The  unknown  author,  apparently  a  Lutheran  pastor, 
writes  with  a  very  definite  and  intensely  serious  purpose,  which  is  to 
warn  his  readers  against  magic  and  the  black  art.  The  book  is  full 
of  Bible  quotations  and  bears  on  its  title-page  the  motto  :  '  Resist 
the  devil  and  he  will  flee  from  you.'  The  story  told  is  in  brief  this : 

*  The  following  quotation  will  serve  to  show  at  once  how  early  the  legend  had  taken 
shape  and  in  what  kind  of  soil  it  grew.  It  is  from  the  Ser manes  Con-vivales  of  the  Basel 
preacher  Johann  Cast.  The  book  was  printed  in  1543.  Cast  writes  of  Faust  :  '  I  dined 
with  him  in  the  great  college  at  Basel.  He  had  given  the  cook  birds  of  different  kinds  to 
roast.  I  do  not  know  how  he  got  them,  since  there  were  none  on  sale  at  the  time.  He 
had  a  dog  and  a  horse  which,  in  my  belief,  were  devils,  as  they  could  do  everything.  Some 
said  the  dog  occasionally  took  the  form  of  a  servant  and  brought  him  food.  The  wretch 
met  a  terrible  end,  for  he  was  strangled  by  the  devil.'  Later  notices  also  give  to  Faust  a 
'  black  dog  which  was  the  devil.' 

t  Of  the  original  Faust-book,  first  edition,  there  are  now  known  to  exist,  according 
to  Engel,  ZusammensteUung  der  Favit-Sckriften,  p.  59,  only  five  copies.  It  is,  however, 
obtainable  in  various  reprints:  (i)  in  facsimile,  Das  alteste  Faust-Buch,  mit  einer  Einleit- 
ung-  von  Wilhelm  Scherer,  Berlin,  1884  ;  (2)  Das  alteste  Faustbucfi,  mit  EMeitung  und 
Anmerkungen  von  August  Kiihne,  Zerbst,  1868  ;  (3)  Dot  Volksbuch  vom  Doctor  Faust, 
in  Braune's  Nevdruck*  deutscker  Littraturwtrke,  Halle,  1878. 


INTRODUCTION.  Xlll 

Faust,  the  son  of  a  peasant  living  near  Weimar,  is  brought  up 
by  a  rich  uncle  at  Wittenberg,  where,  in  due  time,  he  studies  the- 
ology at  the  university  and  takes  his  degree  with  distinction.  Be- 
ing, however,  of  a  '  foolish  and  arrogant '  (we  should  say,  a  bold 
and  original)  mind,  he  gets  the  name  of  '  speculator,'  and  begins 
to  study  books  of  magic.  Soon  he  repudiates  the  name  of  a 
*  theologus '  and  becomes  a  '  Weltmensck?  calls  himself  a  '  doctor  of 
medicine,'  'astrologer,'  etc.,  and  goes  about  healing  people  with 
herbs,  roots  and  clysters.  Having  thus  '  taken  eagles'  wings  to 
himself,  and  resolved  to  search  into  all  things  in  heaven  and  earth,' 
he  carries  his  madness  to  the  extent  of  trying  to  evoke  the  devil. 
Going  into  the  woods  near  Wittenberg,  at  night,  he  succeeds,  after 
much  ado,  in  raising  a  subordinate  devil  who  appears  in  the  guise 
of  a  monk.  Faust  demands  that  this  spirit  shall  come  to  his  house 
the  next  day  at  midnight,  which  the  spirit  does.  Then,  after  va- 
rious preliminary  '  disputations,'  in  one  of  which  the  spirit  gives  his 
name  as  Mephostophiles,*  the  pair  enter,  at  Faust's  solicitation, 
into  an  agreement.  Mephostophiles  agrees  to  bestow  upon  Faust 
the  form  and  nature  of  a  spirit,  to  be  his  faithful  and  obedient  ser- 
vant, to  come  to  his  house  whenever  wanted,  and  there  either  to 
remain  invisible  or  to  take  any  desired  shape.  In  return,  Faust 
agrees  that  after  a  certain  period,  fixed  later  at  twenty-four  years, 
he  is  to  belong  to  the  devil,  and  that  meanwhile  he  will  renounce 
the  Christian  faith,  hate  all  Christians,  resist  all  attempts  to  con- 
vert him,  and  sign  this  covenant  with  his  own  blood. 

For  a  while  Faust  remains  at  home  seeing  no  one  but  Mephosto- 
philes and  his  famulus,  an  <  insolent  lubber'  called  Christoph  Wag- 
ner, who  had  formerly  been  a  worthless  vagabond.  At  first  Mephos- 
tophiles amuses  Faust  and  Wagner  (who  is  in  his  master's  secret) 
with  various  manifestations,  and  feeds  them  on  princely  food  and 
drink  purloined  from  the  neighboring  castles.  So  Faust  leads  '  an 
epicurean  life '  day  and  night,  ceases  to  '  believe  in  God,  hell,  or 
devil, 'f  and  •  thinks  that  soul  and  body  die  together.'  He  desires 
a  wife,  but  marriage  being  a  Christian  ordinance,  the  devil  objects 
and  finds  other  ways  to  gratify  his  lust.  He  also  provides  a  great 
book  dealing  with  all  sorts  of  magic  and  '  nigromancy.'  Faust's 
curiosity  being  excited,  he  asks  his  familiar  all  sorts  of  questions  con- 

*  On  the  forms  of  the  name  see  note  to  line  242+,  of  the  text. 

t  Chap.  X.  This  curious  feature  of  the  legend  which  makes  Faust  skeptical  with  re- 
gard to  hell  and  the  devil  even  while  he  is  on  intimate  terms  with  an  envoy  of  hell  and  is 
daily  doing  wonders  in  the  devil's  name,  is  worthy  of  special  notice. 


XIV  INTRODUCTION. 

cerning  the  spirit- world.  Long  'disputations'  ensue  respecting 
hell,  the  hierarchy  of  devils,  the  fall  of  the  recreant  angels,  etc. 
Mephostophiles'  account  of  Lucifer's  former  estate  brings  Faust  to 
tears  of  remorse  over  his  own  folly ;  still  he  will  not  repent  and 
return  to  God  and  the  church,  but  persists  ,,in  alien  jeinen  opinioni- 
bus  unb  2Ret)nungen."  Presently  the  devil  refuses  to  answer  further 
questions,  whereupon  Faust  becomes  a  calendar-maker,  and  turns 
his  attention  to  physics  and  astronomy.  In  such  pursuits  seven 
years  pass. 

In  the  next  eight  years  we  hear  of  only  two  adventures.  Faust 
desires  to  visit  hell,  and  Mephostophiles  brings  it  about  that  Beelze- 
bub calls  for  him  at  midnight,  takes  him  up  into  the  air  in  an  ivory 
chair,  puts  him  asleep  and  lets  him  dream  of  hell  in  the  belief  that 
he  is  really  there.  Afterward  he  ascends  into  the  sky  in  a  car 
drawn  by  dragons  and  spends  a  week  among  the  stars.  In  the 
sixteenth  year  he  conceives  a  desire  to  travel  on  earth ;  so  Mephos- 
tophiles converts  himself  into  a  '  horse  with  wings  like  a  drome- 
dary,' and  bears  him  to  all  parts  of  the  world.  In  this  way  he 
visits  many  lands,  seeing  their  sights,  enjoying  their  pleasures,  and 
performing  all  sorts  of  conjuror's  tricks.  At  Rome  he  plays  pranks 
upon  the  pope.  At  Constantinople  he  visits  the  Sultan's  harem  in 
the  role  of  Mahomet.  At  the  court  of  Charles  V.  he  counterfeits 
the  forms  of  Alexander  the  Great  and  his  wife.  Again  he  conjures 
a  stag's  horns  upon  the  head  of  a  knight,  swallows  a  peasant's  cart- 
load of  hay,  and  saws  off  his  own  leg  and  leaves  it  in  pawn  with  a 
Jew.  Toward  the  end  he  spends  much  time  in  revelry  with  certain 
jolly  students.  On  one  occasion  some  of  these  wish  to  see  Helena 
of  Greece,  whereupon  Faust  produces  her  for  their  diversion. 
Later  he  takes  Helena  as  a  concubine  and  has  by  her  a  son  Justus 
Faust,  who  loretells  future  events  for  his  father. 

As  the  end  of  his  career  approaches  Faust  regrets  his  bargain 
and  bewails  his  fate  in  bitter  tears  and  lamentations.  The  devil 
tries  to  console  him,  but  insists  inexorably  on  the  contract.  On 
the  last  day  of  the  twenty-four  years,  having  previously  willed  his 
property  to  Wagner,  Faust  goes  with  his  boon  companions  to  an 
inn  near  Wittenberg,  treats  the  company  to  good  food  and  wine, 
informs  them  ruefully  of  his  situation,  and  tells  them  that  the  devil 
is  to  come  for  him  at  midnight.  They  then  separate.  At  the 
hour  named  the  students  hear  a  terrible  sound  of  hissing  and 
whistling,  and  in  the  morning  on  going  to  look  for  him  they  find 
«  no  Faust,'  but  only  his  mangled  body  lying  on  a  heap  of  refuse. 


INTRODUCTION.  XV 

The  gist  of  this  story,  as  seen  by  those  who  created  it,  is  the 
awful  fate  of  a  bad  man  who  is  led  by  the  study  of  magic  into  deal- 
ings with  the  devil.  The  league  with  the  devil  is  not  the  root,  but 
the  fruit  of  Faust's  badness,  which  consists,  primarily,  in  an  unholy 
intellectual  curiosity.  A  promising  theologian,  he  is  not  content 
with  traditional  theology,  but  wishes  to  know  « all  things  in  heaven 
and  earth.'  This  desire  itself  is.  sinful.  Men  should  be  content 
with  what  is  revealed  in  the  Word.  Faust  essays  to  get  the 
desired  knowledge  by  the  study  of  magic,  but  this  study  is  sinful. 
Knowledge  and  power  may,  to  be  sure,  be  got  in  that  way,  but 
they  are  got  by  the  devil's  help  and  men  are  commanded  to  resist 
the  devil  instead  of  making  friends  with  him.  Hence  the  logic  of 
the  catastrophe.  Faust's  wicked  desire  is  gratified.  For  a  while 
he  lives  as  a  superior  being  and  lords  it  over  time  and  space.  But 
he  does  this  by  the  devil's  aid  and  the  devil  must  have  his  pay,  and 
his  pay  is  the  soul  of  his  dupe. 

Speaking  broadly  and  from  a  modern  point  of  view,  *  what  we 
see  in  the  Faust-legend  is  the  popular  Protestant  theology  of  the 
Reformation  period  expressing  itself  upon  the  great  intellectual 
movement  of  the  Renaissance ;  upon  the  new  spirit  of  free  inquiry, 
of  revolt  against  narrow  traditions,  of  delight  in  ancient  ideals  of 
beauty.  Faust  is  a  representative  of  this  spirit.  It  might  seem  at 
first  as  if  there  were  but  little  likeness  between  him  and  the  great 
humanists,  but  there  are  two  traits  which  connect  him  with  them, 
namely,  his  interest  in  secular  science  and  his  love  of  antique 
beauty.  The  lovely  pagan  Helena,  as  well  as  physics  and  astron- 
omy, is  one  of  the  devil's  tools  for  entrapping  the  soul  of  Faust. 
In  this  connection  it  is  noteworthy  that  a  very  early  tradition  con- 
nects Faust  with  the  University  of  Erfurt,  then  the  great  seat  of 
German  humanism. f  There  he  is  represented  as  lecturing  upon 

*  On  the  historical  import  of  the  Faust-legend,  cf.  Erich  Schmidt,  Charakteristiken, 
pp.  1-37,  Kuno  Fischer,  Goethe's  Faust,  p.  21,  ff.,  and  Scherer's  Introduction  to  his  fac- 
simile edition  of  the  original  Faust-book. 

t  Cf.  Scherer,  GeschichU  der  deutschen  Littiratur,  p.  273. 


XVi  INTRODUCTION. 

Homer  and  calling  up  the  shades  of  Homeric  heroes  to  illustrate 
his  lecture.  Again  he  participates  in  a  discussion  on  the  utility  of 
Latin  comedy  as  reading-matter  for  the  schools.  In  this  Faust  we 
see  a  genuine  colleague  of  the  humanists. 

Thus  it  would  seem  as  if  the  legend,  in  working  out  the  charac- 
ter and  career  of  Faust,  had  intentionally  made  him  a  wicked  secu- 
lar counterpart  to  Luther.  At  least  the  parallel,  as  drawn  by 
Scherer,*  is  very  striking.  Both  Luther  and  Faust  are  occupied 
with  the  old  humanities  at  Erfurt,  but  Luther  turns  his  back  on  the 
sensuous  lures  of  paganism  and  meets  his  need  of  woman's  love  by 
marrying  him  a  wife  in  accordance  with  divine  ordinance,  while 
Faust  yields  to  lawless  passion,  rejects  marriage  at  the  devil's 
advice,  and  takes  Helena  as  a  paramour.  Both  live  at  Wittenberg, 
the  cradle  of  the  Reformation,  Luther  as  the  reverent  student  and 
expounder  of  the  Bible,  Faust  as  a  despiser  of  scripture  and  a 
searcher  after  forbidden  knowledge.  Both  visit  Rome,  where 
Luther  is  shocked  by  the  prevailing  license,  Faust  cynically  amused 
to  find  that  others  are  no  better  than  himself.  Luther  shies  his 
inkstand  at  the  devil,  Faust  makes  friends  with  him ;  Luther  is  a 
devout  believer,  Faust  a  reckless  skeptic. 

For  a  time  the  Faust-narrative  proved  very  popular  and  new 
editions  and  translations  came  out  in  rapid  succession. f  In  1599 
G.  R.  Widman  published  the  story  with  an  elaborate  commentary, 
and  his  account,  it  would  seem,  became  the  chief  source  of  the 
subsequent  versions.  J  Widman  differs  in  many  particulars  from 
the  original  Faust-book,  but  the  details  do  not  concern  us  here. 
In  general  he  gives  to  the  legend  a  more  decidedly  anti-Catholic 
tinge  and  deprives  it  of  its  poetry.  In  his  hands  Faust  loses  the 
character  of  a  titanic  philosopher  who  '  takes  eagles'  wings  to  him- 
self ;  he  is,  rather,  a  promising  youth  led  into  bad  ways  through 

*  Faust-Buck,  p.  xxi. 

t  For  exact  bibliographical  data,  see  Engel,  Zusammenstellung,  p.  57  ff. 

t  Widman's  work  is  reprinted  in  Scheible's  Kloster,  II.,  273  ff. 


INTRODUCTION.  XV11 

contact  with  the  magic  of  the  Catholic  church.  The  episode  of 
Helena  Widman  only  refers  to  in  a  foot-note ;  he  will  not  offend 
chaste  ears  and  hearts  by  relating  it.  In  1(374  a  new  edition* 
of  Widman's  work  was  published  by  C.  N.  Pfitzer,  a  Niirnberg 
physician,  and  Pfitzer's  book  was  re-issued  in  abbreviated 
form  early  in  the  following  century  by  an  anonymous  editor 
styling  himself  « a  man  of  Christian  sentiments '  (von  einem 
Christlich  Meynenden)  .f  This  little  book  was  widely  sold  and  must 
have  been  familiar  to  the  boy  Goethe  at  Frankfurt.  J  Indeed  it 
was  here,  or  in  Pfitzer,  that  the  author  of  Faust  found  the  hint  for 
his  Gretchen.  On  the  strength,  probably,  of  some  tradition  that 
had  escaped  or  scandalized  Widman,  Pfitzer  and  his  anonymous 
successor  tell  of  Faust's  falling  in  love  with  a  poor  but  beautiful 
servant-girl.  At  first  Faust  tries  to  seduce  her ;  then  when  her 
virtue  turns  out  to  be  proof  against  his  wiles,  he  proposes  to  marry 
her.  From  this  purpose  he  is  frightened  by  the  devil,  who  gives 
him  the  fair  Helena  in  the  girl's  stead.  § 

But  it  was  the  popular  Faust-drama,  more  than  the  narrative, 
which  kept  the  subject  alive  for  the  German  people  during  the 
seventeenth  and  eighteenth  centuries,  as  it  was  also  the  drama,  in 
the  form  of  a  puppet-show,  which  impressed  the  young  Goethe  with 
the  significance  of  the  legend.  Of  this  drama  as  performed  by 
living  actors  no  text  is  extant.  Indeed  it  was  not  a  drama  in  a 
critical  or  literary  sense,  but  a  popular  show  presented  from  age  to 
age  by  strolling  companies,  with  variations  and  improvisations  to 
suit  the  time  or  the  views  of  the  manager.  But  in  spite  of  their 
variety  these  shows  were  of  the  same  general  type  and  conformed 

*  Reprinted  by  A.  von  Keller,  Tubingen,  1880. 

t  Reprinted,  with  a  good  Introduction  by  Szamatolski,  as  No.  39  of  Goeschen's 
Deutsche  Litteraturdenkmale.  This  reprint  is  from  a  copy  of  the  year  1725,  the  earliest 
known. 

t  It  is,  however,  certain  that  Goethe  was  not  confined  to  this  book  and  the  puppet- 
play  for  his  knowledge  of  the  legend.  See  also  below,  under  the  heading  'Gretchen.' 

§  Szamatolski,  p.  23. 


XV111  INTRODUCTION. 

broadly  to  a  traditional  text  which  now  appears  to  have  been 
derived  from  Marlowe's  Faustus  as  brought  to  Germany  by  English 
players  and  performed  there  early  in  the  seventeenth  century.* 
Marlowe's  Faustus  was  written  in  1589,  the  poet  getting  his  knowl- 
edge of  the  story  from  the  translated  English  Faust-book  which 
appeared  before  Feb.  28,  15894  The  play  follows  the  legend 
closely  in  spirit  and  in  details.  It  begins,  after  an  expository 
chorus,  with  a  soliloquy  in  which  Faustus  expresses  his  dissatisfac- 
tion with  philosophy,  law,  medicine  and  theology,  and  resolves  to 
study  magic.  He  is  warned  by  a  good  angel  that  he  will  do  this 
at  the  peril  of  his  soul,  but  he  is  captivated  by  the  vision  of  the 
wonderful  things  he  will  be  able  to  do  and  enjoy  as  magician,  and 
so  decides  to  '  conjure  though  he  die  therefore.'  Going  into  the 
woods  at  night  he  brings  up  a  spirit,  Mephistophilis,  with  whom  he 
arranges  terms  of  service  for  twenty-four  years,  promising  to  give, 
at  the  end  of  that  time,  his  body  and  soul  to  Lucifer.  Then  follow 
the  disputations,  travels  and  tricks,  as  in  the  legend.  Again  and 
again  Faustus  would  fain  repent  and  save  himself,  but  is  always 
persuaded  that  he  cannot,  that  it  is  too  late.  At  the  last,  in  an 
agony  of  remorse  and  fear,  he  is  carried  off  by  devils. 

Thus  we  see  that  Marlowe  takes  the  theology  of  the  legend  as  he 
finds  it  and  gives  us  a  simple  tragedy  of  sin  and  damnation.  His 
Faustus  is  a  depraved  soul  that  wilfully  follows  the  lower  instead  of 
the  higher  voice,  and  suffers  the  consequences  he  had  himself  fore- 
seen. The  poet,  to  be  sure,  makes  his  hero  doubt  the  reality  of 
hell,$  but  this  skepticism  sits  lightly  upon  him,  and  we  feel  that 
under  the  circumstances  he  has  no  right  to  be  skeptical.  The 
compact  is  a  plain  matter  of  purchase  and  sale.  Faustus  has  had 
before  him  an  emissary  of  hell  in  bodily  form,  and  this  emissary 
has  assured  him  that  heaven  and  hell  are  supreme  realities.  Never- 
theless he  says  to  himself 

*  Cf.  Creizenach,  Geschichte  des  Volksschauspitls  vom  Dr.  Faust,  chapters  i  and  2. 
,.    f  Cf.  Zarncke,  in  Anglia,  IX.,  610. 

I  "Come,  I  think  hell's  a  fable"  ;  act  II.,  sc.  i. 


INTRODUCTION.  XIX 

"  The  god  thou  serv'st  is  thine  own  appetite," 

and  forthwith  proceeds  to  sell  his  soul  for  a  mess  of  pottage.  The 
pottage  is  purveyed  in  accordance  with  the  agreement,  and  the 
devil  gets  his  own. 

There  is  reason  to  think  that  Marlowe  himself  treated  his  sub- 
ject rather  seriously,  making  but  little  use  of  clown  scenes  and 
hocus-pocus  to  amuse  the  crowd.  These  things,  however,  were 
called  for  by  the  popular  taste,  and  after  Marlowe's  death,  in  1593, 
his  text  underwent  extensive  interpolations  of  that  kind.  It  was 
this  Faustus,  thus  amplified,  which  was  taken  to  Germany  and 
played  there,  with  other  English  plays,  by  English  actors.*  The 
earliest  performance  of  which  we  chance  to  have  a  record  was  at 
Graz  in  1608.  f  Very  soon  the  subject  was  taken  up  by  com- 
panies of  German  actors  who,  whether  they  really  owed  anything 
to  Marlowe  or  not,  at  least  followed  the  same  general  line  of 
treatment.  Of  this  German  Faust-play  as  performed  in  the 
seventeenth  century  our  knowledge  is  scanty,  more  ample,  how- 
ever, for  the  eighteenth  century.  By  that  time  it  had  become  a 
spectacular  extravaganza  in  which  the  clown,  under  the  various 
names  of  Pickelharing,  Hans  Wurst,  Harlekin,  Crispin,  Casper, 
(his  part  was  usually  taken  by  the  manager  of  the  company  J)  was 
the  main  center  of  interest.  The  story  of  Faust,  while  its  serious 
import  was  not  altogether  lost  sight  of,  was  treated  as  a  convenient 
thread  on  which  to  string  all  sorts  of  grotesque  and  grewsome 
diablerie.  Thus  a  performance  given  at  Frankfurt  in  1767  (Goethe 
was  then  in  Leipzig),  was  advertised  as  a  '  grand  machine  comedy,' 
with  specific  attractions  like  these  :  (i)  «  Faust's  dissertation  in  his 
museum  (study)  as  to  whether  he  shall  pursue  theology  or  « micro- 

*  At  these  performances  it  was  customary,  for  the  clown  to  speak  German,  while  the 
other  actors  used  English  —  an  arrangement  which  tended  from  the  outset  to  give  the 
clown  at  once  a  factitious  importance  and  an  episodical  character.  Cf.  Creizenacb, 
p.  69. 

t  Creizenach,  p.  45. 

t  Creizenach,  p.  148. 


XX  INTRODUCTION. 

mancy'  (necromancy).'  (2)  'Faust's  remarkable  conjuration  at 
night  in  a  dark  wood,  whereat  various  infernal  monsters,  furies, 
spirits  (among  these  Mephistopheles)  appear  amid  thunder  and 
lightning.'  (3)  'Crispin  makes  fun  with  the  spirits  in  the  magic 
circle.'  (4)  '  Faust's  contract  with  hell ;  the  document  carried  off 
by  a  raven  through  the  air.'  (5)  •  Crispin  opens  a  book  in  Faust's 
library  and  little  devils  come  out.'  (6)  '  Faust's  journey  through 
the  air  with  Mephistopheles,'  and  so  on.  At  the  last  Faust  is 
carried  off  to  hell  by  furies  and  the  play  concluded  with  a  ballet  of 
furies  and  a  '  grand  display  of  fire-works  '  representing  hell.* 

But  it  would  be  a  mistake  to  suppose  that  such  performances  as 
this  were  still  common  as  late  as  1767.  Long  before  that,  the  old 
popular  plays  with  their  prominent  clown,  their  coarse  humor,  their 
fondness  for  fantastic  supernaturalism,  their  indifference  to  literary 
standards,  had  fallen  into  disrepute  in  high-toned  circles.  An  arti- 
ficial taste  had  grown  up  which  looked  to  the  classical  drama  of 
France  as  the  model  of  all  excellence.  Dr.  Faust  and  his  theat- 
rical associations  had  become  ridiculous  and  vulgar ;  so  that  it  re- 
quired the  boldness  as  well  as  the  insight  of  a  Lessing  to  take  a 
stand  against  the  swelling  tide  of  correct  but  vapid  imitations  of  the 
French  and  to  come  to  the  rescue  of  the  old  German  plays.  In  his 
memorable  seventeenth  Literaturbrief,  published  in  1759,  Lessing 
argued  that  the  spirit  of  the  English  drama,  rather  than  the  French, 
was  best  adapted  to  the  German  people.  '  In  our  tragedies,'  he 
insists,  '  we  want  to  see  and  think  more  than  the  timid  French  trag- 
edy gives  us  to  see  and  to  think.  The  grand,  the  terrible,  the 
melancholy,  works  better  upon  us  than  the  nice,  the  delicate,  the 
love-lorn.'  Later  in  the  same  letter  he  writes :  '  Our  old  plays  really 
contain  much  that  is  English.  To  take  only  the  best  known  of 
them :  Dr.  Faust  has  a  number  of  scenes  such  as  only  a  Shake- 
spearian genius  would  have  been  able  to  conceive.  And  Germany 
was,  in  part  still  is,  so  enamored  of  its  Dr.  Faust. .'  After  this 

*  Creizenach,  p.  n,  12. 


INTRODUCTION.  XXI 

Lessing  gives  a  specimen  of  a  Faust-scene  such  as  he  would  like  to 
see. 

The  effect  of  Lessing's  letter  was  to  rescue  the  Faust-theme  from 
the  disrepute  into  which  it  had  fallen  and  to  make  it  seem  available 
for  the  higher  purposes  of  poetry.  A  new  Faust-tragedy  thus  became, 
as  Schroer  expresses  it,  a  problem  of  the  age.*  Lessing  himself, 
as  is  well  known,  attacked  the  problem,  and  it  is  matter  for  lasting 
regret  that  his  Faust  never  saw  the  light,  though  Providence  had 
better  things  in  store  than  any  solution  which  he  could  have  offered. 
There  is  no  evidence,  however,  that  Goethe  was  directly  influenced 
by  Lessing's  letter,  though  he  must  have  read  it.  He  came  by 
his  interest  in  the  subject  in  his  own  way,  the  way  of  the  puppet- 
play.  To  this  we  must  now  turn. 

When  the  old  popular  Faust-play  was  retired  in  disgrace  from 
the  theaters,  that  was  by  no  means  the  end  of  it ;  it  found  refuge 
with  a  class  of  men  who  cared  very  little  for  critical  theories  of  the 
drama,  namely,  the  showmen  who  amused  the  young  with  their 
wooden  puppets.  The  play  soon  fell  altogether  into  the  hands  of 
these  men  and  by  them  the  earlier  dramatic  tradition  has  been  con- 
tinued more  or  less  intact  down  to  our  own  time.  In  the  early 
years  of  this  century  these  plays  became  objects  of  scientific  interest, 
so  that  reports  of  performances,  and  in  due  time  complete  texts,  be- 
gan to  find  their  way  into  print.  To-day  we  have  a  considerable  col- 
lection of  them.f  differing  a  good  deal  of  course  in  minor  dramatis 
personae  and  in  details  of  plot,  but  still  conforming  to  the  same 
general  type.  Unfortunately  none  of  these  plays,  as  we  know  them, 
can  be  identified  with  the  one  which  Goethe  saw.  Indeed  he  may 
have  seen  more  than  one.  Still,  by  a  comparison  of  those  we  have, 

*  In  the  Introduction  to  his  edition  of  Faust,  p.  xxiii. 

t  Six  were  printed  forty  years  ago  by  Scheible,  V.,  732  ff.  These  and  several  others, 
eight  in  all,  were  studied  by  Creizenach  in  1878.  Since  that  time  has  appeared  Dot 
Schioiegerlingsche  Puppenspiel  votn  Doktor  Faust,  herausgegeben  von  A.  Bielschowsky, 
Brieg,  1882.  The  latter  is  based  on  a  stenographic  report  of  a  performance  given  at 
Brieg  in  1877.  It  is  supplied  with  a  good  Introduction,  and  contains,  in  six  parallel  col- 
umns, a  conspectus  of  the  plots  of  five  puppet-plays  and  Marlowe's  Faustus. 


XXil  INTRODUCTION. 

we  can  form  at  least  a  rough  mental  picture  of  the  '  legend '  that  was 
'  buzzing'  in  his  thoughts  at  Strassburg  in  1770. 

Some  of  the  plays  begin  with  a  prologue  in  hell.  Charon  com- 
plains to  Pluto  that  he  does  not  get  souls  enough  for  his  ferry. 
Pluto  promises  to  increase  his  custom  by  sending  devils  to  mislead 
men.  In  one  case  he  promises  specifically  to  have  Mephistopheles 
beguile  Dr.  Faust  of  Wittenberg  into  the  study  of  magic.  Most 
of  the  plays,  however,  begin  with  a  brooding  soliloquy  of  Faust,  in 
which  he  explains  why  he  has  taken  to  magic.  Usually  it  is  because 
he  has  found  no  satisfaction  in  theology.  A  supernatural  voice  at 
his  right  warns  him,  while  one  at  his  left  encourages.  In  the  next 
scene,  as  a  rule,  Wagner  comes  in  and  announces  that  two  students 
have  just  brought  a  mysterious  book,  a  clavis  de  magica  or  the  like. 
Faust  is  delighted  and  Wagner  now  secures  permission  to  employ  a 
fellow-servant  for  the  coarse  house-work.  The  clown  comes  and  is 
engaged  by  Wagner  for  this  position.  Faust  now  proceeds  to  conjure 
with  the  book,  but  in  his  study  instead  of  in  the  woods.  Various 
devils  appear  and  Faust  selects  the  swiftest,  Mephistopheles,  with 
whom  he  contracts  for  twenty-four  years'  service,  signing  the  paper 
in  his  own  blood.  He  then  demands  diversion  and  Mephistopheles 
spirits  him  away  to  some  princely  court,  usually  that  of  the  Duke  of 
Parma.  After  he  is  gone  the  clown  comes,  gets  into  Faust's  magic 
circle,  cites  the  devils  to  appear,  and  amuses  himself  with  them. 
Faust  now  conjures  for  the  amusement  of  the  court,  calling  up  ap- 
paritions of  Alexander,  David  and  Goliath,  etc.  Meanwhile  the 
clown  has  followed  him  and  contrives  to  betray  the  secret  of  his 
new  master's  power.  Faust  becomes  an  object  of  suspicion  and  is 
compelled  to  go  away.  Then  he  appears  as  a  penitent.  He  would 
return  to  God,  but  Mephistopheles  beguiles  him  with  the  gift  of 
Helena.  After  this  we  have  a  scene  in  which  the  clown,  as  watch- 
man, calls  out  the  hours  of  the  night.  At  the  stroke  of  twelve 
Faust  is  carried  off  by  devils  or  furies. 

We  come  now  to  our  second  retrospect.     Goethe  tells  us,  it  will 


INTRODUCTION.  XX111 

be  remembered,  that  he  had  '  drifted  about  in  all  knowledge  and 
early  enough  come  to  feel  the  vanity  of  it ' ;  also  that  he  had  '  made 
all  sorts  of  experiments  in  life  and  always  come  back  more  unsatis- 
fied, more  tormented.'  And  then  there  was  his  '  mystic-cabbalis- 
tic chemistry.'  Let  us  see  precisely  what  these  experiences  had 
been,  which  formed  the  soil  that  nourished  the  roots  of  Faust. 

III. 

PREPARATORY   EXPERIENCES   OF   GOETHE. 

In  the  fall  of  1765  the  boy  Goethe  was  deemed  ready  to  leave 
his  father's  house  in  Frankfurt  for  the  university.  His  own  desire 
was  to  study  the  old  humanities  at  Gottingen,  but  his  father  insisted 
upon  Leipzig  and  the  law.  To  Leipzig  he  accordingly  went; 
cherishing  the  secret  purpose  to  trouble  himself  but  little  with  juris- 
prudence, but  to  devote  himself  to  those  studies  which  best  prom- 
ised to  develop  the  poet  in  him.*  Half  diverted  from  this  purpose 
by  Professor  Bbhme,  to  whom  he  brought  letters  from  home,  he 
took  up  certain  law-lectures  only  to  find  them  a  bore  and  presently 
to  drop  them :  he  knew,  or  thought  he  knew,  all  that  the  lecturer 
saw  fit  to  impart.  He  began  a  course  in  logic,  but  the  study  ap- 
peared to  him  frivolous ;  instead  of  teaching  him  to  think,  it  taught 
him  to  pick  his  old  simple  thoughts  to  pieces.  With  philosophy 
it  went  no  better ;  that  too  seemed  a  matter  of  words.  «  Of  the 
subject  in  hand,'  he  writes,  '  of  the  world,  of  God,  I  thought  I  knew 
about  as  much  as  the  teacher  himself. '  \  His  highest  hopes  he  set 
on  the  famous  Professor  Gellert,  but  Gellert  proved  to  care  more 
for  good  handwriting  than  for  poetry.  A  course  in  Cicero's  De 
Oratore,  under  the  distinguished  Ernesti,  turned  out  a  little,  but 
not  much,  more  helpful.  '  What  I  wanted,'  Goethe  writes,  '  was  a 
standard  of  judgment,  and  this  no  one  seemed  to  possess.'  J 

#  Werke,  XXVII.,  50  ff. 
t   Werke,  XXVII.,  53. 
$  Werke,  XXVII.,  67. 


XXIV  INTRODUCTION. 

What  wonder  if,  under  such  circumstances,  having  failed  to  find 
a  single  line  of  appetizing  study,  the  young  student  should  fall 
into  a  pessimistic  frame  of  mind  respecting  the  whole  round  of 
academic  pursuits?  What  wonder  if  it  may  have  seemed  to  him, 
in  an  occasional  savage  mood,  that  the  learning  of  the  learned  was 
little  else  than  a  hypocritical  farce  of  words  paraded  as  a  cover  for 
ignorance ;  a  floating  bog  of  conventional  verbiage,  in  which  a 
firm  standing-ground  of  positive  knowledge  was  nowhere  to  be 
found?  We  must  of  course  guard  against  reading  too  much 
of  the  later  Goethe  into  the  life  of  the  youngster  at  Leipzig.  It 
was  no  doubt  later  that  moods  like  these  threw  their  deepest 
shadow ;  but  even  now  he  began  to  feed  on  the  very  food  in  all 
the  world  most  fitted  to  beget  them.  In  a  letter  of  Oct.  12,  1767, 
he  calls  the  sentiment  phis  {que)  les  mceurs  se  raffinent,  plus  les 
hommes  se  dipravent,  a  '  truth  most  worthy  of  reverence.'  This 
wonderful  « truth '  came  to  him,  no  doubt,  from  the  great  apostle 
of  nature,  Jean  Jacques  Rousseau.*  The  sentiment  is  the  burden 
of  Rousseau's  famous  prize  Discourse  of  1750,  and  if  the  main  the- 
sis so  pleased  our  young  philosopher  of  seventeen,  it  is  fair  to  pre- 
sume that  he  was  no  less  captivated  by  the  diatribes  against  the 
learned  which  abound  in  the  same  essay.  Rousseau's  doctrine  was 
that  civilization  is  corruption.  Its  arts  and  sciences  and  other 
boasted  refinements  have  substituted  for  the  good  simplicity  of 
nature  a  bad  web  of  conventionalities,  prominent  among  which 
are  the  idle  researches  and  the  hair-splitting  quibbles  of  the  learned. 

Thus  Goethe  found  in  Rousseau  the  antithesis :  nature  versus 
traditional  book-learning,  f  He  heard  a  voice  telling  him  with 
passionate  eloquence,  that  the  life  of  the  scholar,  '  poring  over 
miserable  books,'  is  contrary  to  nature.  And  this  voice  found  in 

*  Careful  search  has  failed  to  discover  these  exact  words  in  Rousseau's  writings,  but 
the  Rousseau  tinge  is  unmistakable.  The  young  Goethe,  who  often  wrote  French  at  this 
time,  seems  to  be  stating  in  language  of  his  own  an  idea  that  he  had  got  from 'reading  a 
French  book. 

t  Or,  as  Fischer  puts  it  in  German,  Umatur  gegen  Unnatur. 


INTRODUCTION.  XXV 

his  own  being  a  responsive  chord  which  a  little  later  was  to  be 
heard  vibrating  in  the  great  symphony  of  Faust.* 

Outside  the  university,  too,  the  Saxons  quarreled  with  the  young 
Frankfurter's  opinions,  his  poetic  taste,  even  his  clothes,  his  man- 
ners and  his  language,  and  insisted  on  making  him  over  without 
convincing  him  that  they  were  right  and  he  wrong.  At  the  end  of 
a  year's  residence  we  find  him  writing  that  he  begins  to  be  '  rather 
dissatisfied  with  Leipzig.'  He  has  quite  fallen  out  with  '  society,' 
and  delights  to  shut  himself  up  in  Auerbach's  Hof  with  his  new 
friend  Behrisch  and  laugh  at  the  Leipzig  people. f  This  Behrisch 
was  a  droll  genius  with  a  cynical  bent  and  a  talent  for  persiflage. 
He  was  eleven  years  older  than  Goethe.  Memories  of  these  con- 
ferences in  Auerbach's  Hof  and  of  jolly  times  in  the  '  cellar '  below, 
lingered  in  the  mind  of  the  younger  man  and  were  turned  to  ac- 
count in  Faust.  They  furnished  hints  not  only  for  the  scene 
'Auerbach's  Cellar,'  but  also  for  the  student  scene,  §  in  which,  in 
its  earlier  form,  Mephistopheles  talks  very  much  as  we  can  imagine 
Behrisch  to  have  talked,  with  his  youthful  auditor's  approval,  on 
these  occasions.  Therp  is  evidence,  also,  that  Behrisch  con- 
tributed in  less  innocent  ways  to  the  initial  conception  of  Mephis- 
topheles. In  an  extant  letter  to  him  Goethe  imagines  himself 
playing  the  very  part  toward  a  virtuous  girl  which  Faust  plays 
toward  Gretchen.||  Besides  these  things  there  is  nothing  in 

*  E.  g.,  lines  386-446,  1064-1125. 

t  Briefe  I.,  82.  On  the  locality  cf.  the  general  note  to  the  scene  'Auerbach's 
Cellar.' 

§  Lines  1868,  ff. 

II  Letter  of  Nov.  7,  1767,  Briefe,  I.,  133.  The  writer,  be  it  remembered,  sins  only 
in  thought,  but  his  language  is  noteworthy.  The  seduction  of  a  virtuous  girl  is  an  '  affair 
of  the  devil'  which  he,  the  writer,  were  he  not  afraid,  would  undertake  to  carry  through 
after  '  fourteen  days'  preparation '  (cf.  Faust,  line  2640).  And  Behrisch  is  his  '  teacher.' 
The  passage  ends  thus :  "  Und  der  Ton  und  ich  zusammen !  Es  ist  komisch.  Aber  ohne 
zu  schworqn  ich  unterstehe  mich  schon  ein  Madgen  zu  verf  —  wie  Teufel  soil  ich's  nen- 
nen.  Genug  Monsieur,  alles  was  sie  (Sie)  von  dem  gelehrigsten  und  fleissigsten  ihrer 
Schiiler  erwarten  konnen."  Note  the  "  schon  "  and  cf.  Faust,  line  2645. 


XXvi  INTRODUCTION. 

Goethe's  Leipzig  life  that  has  an  obvious  bearing  upon  his  great 
poem.  His  law  studies  continued  to  bore  him  as  often  as  he  gave 
them  a  chance.  In  a  letter  of  October  12,  1767,  he  writes  his  sis- 
ter in  a  cynical  vein  of  the  courses  he  is  pursuing.  After  dilating 
on  the  shortcomings  of  his  teachers  and  the  stupidity  of  their  subject- 
matter  he  exclaims :  ' So  you  see  how  much  complete  knowledge 
a  studiostts  juris  can  have.  I'll  be  hanged  if  I  know  anything!' 
By  this  time,  however,  his  poetic  ardor,  which  for  a  time  had  left 
him  completely  in  the  lurch,  had  returned  in  full  force.  His  pas- 
sion for  Annette  Schonkopf  caused  him  to  seek  relief  from  the 
torments  of  a  jealous  lover  by  depicting  the  type  in  Die  Laune  des 
Verliebten,  his  earliest  play ;  while  reminiscences  of  Frankfurt  life 
in  its  lower  strata  led  to  the  conception  of  a  second  drama,  Die 
Mitschuldigen.  He  also  found  at  last  helpful  guidance  and  con- 
genial occupation  at  the  home  of  the  artist  Oeser.  He  was  learn- 
ing many  other  things,  if  not  much  law,  when,  in  the  summer  of 
1768,  a  severe  internal  hemorrhage  sent  him  home. 

Returning  to  Frankfurt  he  found  himself  doomed  for  a  long  time 
to  the  role  of  an  invalid.  A  dangerous  illness  held  him  in  its  grip, 
bringing  him  more  than  once  to  the  brink  of  death,  deepening  his 
character  and  giving  to  his  thoughts  a  serious  cast.  '  In  my  ill- 
ness,' he  writes  to  Annette  Schonkopf,  '  I  have  learned  much  that 
I  could  have  learned  nowhere  else  in  the  world.'*  This  alludes, 
no  doubt,  to  his  religious  experiences  under  the  tutelage  of  the  pious 
Fraulein  von  Klettenberg,  the  '  beautiful  soul '  whom  he  afterwards 
immortalized  in  Wilhelm  Meister.  This  good  lady  interested  her- 
self deeply  in  his  spiritual  condition,  and  tried  to  have  him  make 
his  peace  with  God  in  her  way.  He  tells  us  that  he  proved  but  a 
stubborn  pupil,  since  he  could  not  persuade  himself  that  he  had 
been  a  very  great  sinner. f  Still,  subsequent  letters  of  his  show 


*  Brief e,  I.,  183. 

t   Werkt,  XXVII. ,201. 


INTRODUCTION.  XXV11 

that  he  was  for  a  time  much  affected  by  these  pious  ministrations.* 
He  became  for  a  season  very  devout,  and  this  period  of  quickened 
religious  feeling  has  left  its  mark  here  and  there  upon  the  language 
ot  Faust.] 

Of  importance  also  were  the  studies  in  magic  and  alchemy  which 
he  now  took  up.  His  physician  was  a  member  of  Fraulein  von 
Klettenberg's  pietistic  coterie,  and  a  believer  in  alchemy.  He 
claimed  to  have  a  panacea  which  he  had  made  but  dared  not  use 
for  fear  of  the  law.  He  also  gave  out  that  his  wonderful  remedy 
could  be  made,  indeed,  since  there  were  personal  moral  factors 
involved,  could  best  be  made,  by  each  one  for  himself;  and  he  was 
in  the  habit  of  recommending  certain  books  that  would  be  helpful 
in  this  direction.  In  December,  1768,  Goethe  was  taken  suddenly 
and  violently  ill  so  that  he  despaired  of  life.  The  anxious  mother 
persuaded  the  doctor  that  now,  if  ever,  was  the  time  for  the  cure-all. 
Reluctantly  the  doctor  administered  his  salt  and  the  patient  forth- 
with began  to  improve.  J  This  was  enough  for  Fraulein  von  Klet- 
tenberg.  She  became  at  once  deeply  interested  in  the  wonderful 
medicine,  and  through  her  Goethe  says  he  was  himself  '  inoculated 
with  the  disease.'  He  set  about  reading  the  doctor's  books  and  as 
soon  as  possible  equipped  a  laboratory  and  began  a  line  of  fantastic 
experiments  with  retort  and  crucible. 

The  first  of  the  books  read  was  Welling's  Opus  Mago-Cabbalisti- 
cum  et  Theosophicum.  This  is  a  German  treatise  dealing  with 
alchemy,  magic,  astrology,  etc.  The  first  part  treats  of  salt,  the 
second  of  sulphur,  the  third  of  mercury.  It  is  illustrated  with  cab- 
balistic drawings  and  has  various  appendixes  relating  to  the  philos- 
opher's stone.  The  whole  is  intensely  Christian,  the  argument 

*  '  I  am  as  I  was,  save  that  I  am  on  a  somewhat  better  footing  with  our  Lord 
God  and  his  dear  son  Jesus  Christ ' ;  letter  of  April  13,  1770,  Brie/e,  I.,  232. 

t  E.  g.,  lines  771-85,   1178-85,  1210-19. 

%  This  story  of  the  wonderful  medicine,  supposed  by  Loeper  (Goethe's  Werke,  Hempel 
edition,  XXL,  352)  to  have  been  sodium  sulohate  or  Glauber's  salt,  is  found  in  Dichtung 
vnd  Wahrheit,  bk.  8. 


XXV111  INTRODUCTION. 

being  based  throughout  on  quotations  from  the  Bible.  Its  intellec- 
tual character  will  appear  from  this  specimen :  '  So  then  it  must 
surely  and  incontestably  follow  for  the  adept  (Naturgeiibten)  that 
fire,  salt  and  gold  are  at  the  root  absolutely  one  and  the  same  in 
kind,  and  that  the  red  solar  and  the  white  lunar  sulphur  are  in 
their  basis  and  origin  identical,  namely,  spiritual  gold  and  silver; 
and  that  he  who  knows  these  two  sulphurs,  and  knows  how  to  find, 
compound  in  the  right  proportion,  unite  and  fix  them,  must  neces- 
sarily come  to  see  the  splendid,  radiant,  indestructible  and  immortal 
body  of  the  man  Adam.'*  Reminiscences  of  Welling's  jargon 
freely  adapted  f  meet  us  in  Faust,  lines  1 034  ff. 

Once  embarked  on  this  line  of  study,  the  young  convalescent 
with  time  on  his  hands  began  following  up  Welling's  references  to 
older  authorities  and  so  was  led  to  concern  himself  with  Paracelsus, 
Van  Helmont  and  others.  A  work  that  gave  him  particular 
pleasure,  he  tells  us,  was  the  so-called  Aurea  Catena  Homeri,  %  in 
which  he  found  '  nature  represented,  though  fantastically,  in  a 
beautiful  concatenation.'  This  conception  of  nature  as  a  grand 
harmony  of  interconnected  parts,  each  with  its  own  relation  to  the 
activity  of  the  whole,  underlies  Faust's  vision  of  the  macrocosm. 

But  the  most  important  result  of  these  lucubrations  was  doubt- 
less, as  Loeper  suggests,!  the  idea  of  a  spiritualized  nature,  the 
conception  of  the  world  as  a  living  manifestation  of  divinity.  This 
conception  fell  in  well  with  his  own  early  prepossessions.  As  a  boy 
he  had  felt  that  « the  God  who  stands  in  immediate  relation  to 
nature,  recognizing  it  as  his  work  and  loving  it,  was  the  real  God.'  || 
At  the  same  time  the  Bible  taught  him  that  this  Creator  of  the 
world  could  enter  into  close  relations  with  men.  And  so  as  a  boy 

*  Page  30. 

t  Treated  "  nach  eignem  Belieben,"  as  Goethe  says  in  Dichtung  und  Wahrfuit: 
Werke,  XXVII.,  204. 

t  Cf.  A  urea  Catena  Homeri,  von  Hermann  Kopp,  Braunschweig,  1880. 
§  Goethe's  Werke,  Hempel  edition,  XXI.,  350. 
II   Werke,  XXVI.,  63. 


INTRODUCTION.  XXIX 

he  had  actually  built  an  altar  and  burned  incense  in  order  to  «  draw 
near '  to  the  great  World-God  in  « good  Old  Testament  fashion.' 
And  now  he  found  his  mystical  alchemists  teaching,  or  rather 
assuming  as  a  matter  of  course,  that  nature  is  altogether  spiritual ; 
that  all  things  we  see  and  touch  are  but  so  many  transformations 
or  emanations  of  the  same  divine  spiritual  essence.  In  Welling 
there  are  none  of  our  modern  distinctions  of  the  inorganic,  the 
living,  the  conscious  and  the  spiritual.  All  things  are  spiritual. 
Thus  he  actually  speaks  of  an  Air-spirit  (Luft-Geist,  p.  13),  and 
of  a  Spirit- World  {Geist-Welt,  not  Geister-Welt,  p.  170),  and  it 
is  an  accident  if  he  does  not  speak  of  a  Star-spirit,  or  a  Tree-spirit. 
But  now  Goethe,  just  before  leaving  Leipzig,  had  been  deeply 
impressed  by  the  religious  views  of  his  friend  Langer.  « Langer 
belonged,'  so  Goethe  writes,  '  to  those  who  cannot  conceive  a 
direct  relation  to  the  great  World-God;  hence  he  required  a 
mediation,  the  analogue  of  which  he  thought  he  found  everywhere 
in  earthly  and  heavenly  things.'  *  Such  a  mediation  is  the  Earth- 
Spirit  of  Faust — a  personification  of  divine  power  as  manifested 
specifically  on  the  earth. 

It  would  be  idle  to  inquire  how  far  the  young  Goethe  believed  in 
this  loref  ;  enough  that  he  found  here  that  which  the  poet  in  him 
could  feed  upon.  His  scientific  and  philosophic  intellect  was  all 
unschooled,  and  Spinoza  had  not  yet  come  to  clear  the  air  for  him. 
Might  there  not  be  something  in  it,  after  all,  this  occult  wisdom 
that  had  for  ages  occupied  the  best  minds  in  Europe  ?  Might  not 
this  wonderful  Nature,  could  one  but  properly  get  into  communica- 
tion with  the  divinity  that  speaks  in  her  visible  forms,  have  some 
strange  high  secret  to  tell ;  some  simple,  universal,  joy-giving  mes- 
sage that  should  put  an  end  to  the  « uncertain  lot  of  humanity,'  ren- 


*  Werkt,  XXVII.,  i9J. 

t  At  the  end  of  the  eighth  book  of  Dichivng  und  Wahrkeit  Goethe  himself  attempts  to 
describe  retrospectively  the  peculiar  Weltanschauung  at  which  he  had  now  arrived.  He 
calls  it  a  mixture  of  Hermetism,  mysticism  and  cabbalism,  on  the  basis  of  neo-Platonism. 


XXX  INTRODUCTION. 

der  the  weary  plodding  of  the  schools  absurd,  and  make  man  a 
partaker  in  the  life  of  the  gods  ? 

It  was  under  the  spell  of  such  vague,  vain  dreams  as  these  that 
the  puppet-play  magician,  who  had  devoted  himself  to  magic  out  of 
disgust  for  traditional  learning,  began  to  acquire  for  Goethe  a  new 
and  personal  interest :  he  saw  in  Faust  a  symbol  of  his  own  striv- 
ings. In  a  letter  of  Feb.  13,  1769,  he  compares  himself  with  a 
'  night-brooding  magus,'  and  says  further  on :  'A  great  scholar  is 
seldom  a  great  philosopher,  and  he  who  has  laboriously  turned  the 
leaves  of  many  books  despises  the  easy  simple  book  of  nature  ;  and 
yet  there  is  nothing  true  but  what  is  simple '.  Add  to  this  that 
Goethe  speaks  of  Faust  as  a  subject  that «  had  (already)  taken  root' 
in  his  mind  at  Strassburg  in  the  autumn  of  1770,  and  we  shall  have 
no  occasion  to  doubt  the  accuracy  of  the  poet's  memory  when,  in  a 
letter  to  Zelter,  written  June  i,  1831,  he  dates  the  first  conception 
of  Faust  back  to  the  year  1769. 

But  the  moment  the  young  dreamer  began  to  identify  himself 
with  Faust,  that  moment  it  was  all  up  with  the  wickedness  of  the 
old  magician.  For  the  son  of  the  eighteenth  century  could  see  no 
damnable  perversity  in  any  man's  aspirations  for  higher,  clearer, 
surer,  simpler,  more  inspiriting  knowledge  than  he  had  thus  far 
found.  Nor  could  the  possession  of  power,  as  an  accessory  of 
knowledge,  seem  to  him  anything  else  than  an  unmixed  blessing. 
And  so  the  Faust  of  the  legend  soon  began  to  take  on  the  features 
of  a  misunderstood  and  maligned  searcher  after  truth.  Here,  too, 
Goethe  was  helped  by  his  reading.  One  of  the  books  read  with 
great  interest  at  this  time,  he  tells  us,*  was  Arnold's  Kirchen-  und 
Ketzergeschichte.  From  this  he  learned  that  many  a  famous  heretic 
whom  orthodox  tradition  has  labelled  «  crazy'  or  'godless,' was  in 
reality  a  man  of  the  highest  purposes,  who  taught  what  he  taught 
because  he  believed  it  to  be  the  truth.  Thus  he  was  led  to  ponder 
on  the  sad  fact  that  it  is  the  man  of  exceptional  insight  and  nobility 

*  Wtrk*  XXVII.,  217. 


INTRODUCTION.  XXXI 

of  motive  whom  the  people  are  most  prone  to  crucify,  or  to  pillory 
posthumously  as  a  monster  of  wickedness.*  An  instance  of  this 
was  presented  in  Paracelsus,  with  whom,  as  we  saw,  Goethe  was  led 
to  concern  himself  in  this  year  of  fruitful  idleness  at  Frankfurt. 

Paracelsus  was  born  about  1490.  Setting  out  to  learn  the  heal- 
ing art  (his  father  was  a  physician)  he  applied  himself  to  the  usual 
studies,  but  soon  became  disgusted,  forsook  the  schoolmen  and 
went  to  live  among  the  miners  of  Tyrol.  Here  he  studied  chemis- 
try, mineralogy  and  the  facts  of  disease,  in  his  own  way.  Acquiring 
reputation  thus,  he  was  in  the  prime  of  life  made  town-physician  of 
Basel  and  soon  after  appointed  to  lecture  on  medicine  at  the  Uni- 
versity. Here  he  bitterly  denounced  the  traditional  medical  learn- 
ing of  the  day  and  insisted  on  the  importance  of  studying  facts 
rather  than  old  opinions.  The  violence  of  his  assaults  upon  vener- 
able authorities  soon  involved  him  in  trouble  and  he  was  forced  to 
leave  Basel.  He  then  entered  upon  extensive  wanderings  which 
lasted  many  years.  In  1541  the  Archbishop  of  Salzburg  offered 
him  a  home  and  protection.  He  accepted  the  offer,  but  died  that 
same  year. 

Here  was  a  new  picture  for  the  mental  gallery  of  our  young  poet : 
A  gifted  youth  impatient  of  tradition ;  his  father  a  physician  de- 
voted to  the  old,  blind  routine,  himself  an  ardent  seeker  after 
higher  things ;  this  youth  as  man  driven  from  his  university  chair 
by  ignorant  prejudice  for  telling  the  truth  as  he  had  learned  it  at 
first  hand  in  the  school  of  nature ;  for  yeajs  a  wanderer  on  the  face 
of  the  earth ;  a  moment  of  settled,  orderly  activity  with  high 
hopes  for  the  future,  then,  death.  — Insensibly  the  features  of  the 
legendary  Faust  blended  in  Goethe's  mind  with  those  of  the  actual 
Paracelsus. 

Such,  then,  were  the  musings  which  Goethe  took  with  him  when, 
in  the  spring  of  1770,  with  health  nearly  restored,  he  again  left 
home  to  resume  his  law  studies  at  Strassburg.  Had  these  musings 

*  Cf.  Faust,  lines  590-3. 


XXX11  INTRODUCTION. 

taken  dramatic  form  ?  Had  he  made  any  progress  in  the  elabora- 
tion of  a  plot?  Was  the  figure  of  Gretchen  already  in  his  mind? 
These  are  queries  to  which  no  positive  answer  can  be  given,  but 
an  affirmative  guess  seems  on  the  whole  the  more  plausible.  Of 
one  thing,  however,  we  may  be  sure :  Had  he  commenced  writing 
at  this  time,  the  result  would  have  had  little  similarity  in  form  or  sub- 
stance to  the  earliest  scenes  of  Faust  as  we  know  them.  To  pro- 
duce these  he  needed  that  general  awakening  and  liberation  which 
came  to  him  at  Strassburg,  chiefly  through  the  influence  of  Herder. 
Thus  far  he  had  been  but  little  affected  by  the  new  ideas  that  were 
beginning  to  make  themselves  felt  in  the  field  of  German  letters. 
At  Leipzig  he  had  fallen  naturally  into  the  ways  of  the  French 
'school,'  that  is,  he  had  learned  to  think  of  poetry  as  the  accom- 
plishment of  the  cultivated,  a  matter  of  regularity,  rhetorical  point, 
and  elegance  of  diction.  He  had  himself  written  two  plays  in 
alexandrines,  and  a  number  of  songs  that  speak  more  of  the  con- 
scious craftsman  than  of  the  glowing  soul.  And  whatever  he  had 
written  had  usually  been  praised  by  admiring  friends. 

But  now  at  Strassburg,  after  he  had  been  there  some  five  months, 
enjoying  life  in  a  congenial  and  stimulating  society,  studying  a  little 
law,  and  a  little  medicine,  and  reading  this  and  that  in  a  desultory 
way,  he  came  for  the  first  time  into  contact  with  a  man  of  powerful, 
keen,  original  intellect ;  a  man  who,  though  only  five  years  older 
than  himself,  was  already  the  author  of  published  writings  which 
showed  him  to  be  the  peer  of  Lessing  in  knowledge  and  critical  in- 
sight. And  this  man  did  not  praise  him  at  all,  but  ridiculed  him 
and  found  fault  with  him  at  every  turn.  For  Herder  the  Frenchified 
German  poetry  of  the  day  was  simply  an  abomination.  In  his  pub- 
lished writings  he  had  attacked  the  prestige  of  the  word  '  classi- 
cal,' and  insisted  that  the  essence  of  poetry  is  '  singing  nature.' 
Especially  he  had  dwelt  upon  the  idea  that  good  poetry  must  be 
deeply  rooted  in  the  national  character  of  the  people.  Every  people, 
he  had  argued,  expresses  itself  first  in  poetry,  which  is  thus  the 


INTRODUCTION.  XXX111 

mother  tongue  of  humanity.     Its  mission  is  to  speak  from  the  heart 
and  to  the  heart  of  the  people  in  the  people's  language. 

The  views  of  Herder  were  somewhat  extreme  and  one-sided.  He 
undervalued  the  formal,  artistic  side  of  poetry,  and  his  conception 
of  '  nature '  and  '  the  natural,'  like  that  of  Rousseau  and  the  eigh- 
teenth century  sentimentalists  generally,  was  more  or  less  fantastic 
and  unsound.  Still,  considering  the  time  and  the  prevailing  taste, 
his  ideas  were  wholesome.  In  any  case,  set  forth  as  they  were 
with  a  dogmatic  positiveness  that  would  brook  no  opposition  or 
qualification,  they  could  not  fail  to  make  a  deep  impression  upon 
Goethe.  At  Herder's  instigation  he  began  to  collect  popular  songs 
and  to  study  Ossian  and  Homer,  and  very  soon  he  had  caught  the 
full  force  of  that  intoxication  which  was  to  be  known  to  posterity  as 
the  « storm  and  stress  period.'  French  authors  and  French  taste 
were  abjured  as  antiquated  and  worthless.  Nature,  originality, 
force,  —  these  were  the  new  watchwords.  Down  with  the  rules 
and  conventions  that  hinder  the  free  flight  of  genius  !  —  such  was 
the  battle-cry. 

We  see  now  why  Goethe  hid  his  interest  in  Faust  from  Herder. 
It  was  not  that  he  was  ashamed  of  the  subject,  for  that,  as  being 
intensely  German,  was  of  the  very  kind  to  commend  itself  to  him 
under  the  new  light ;  but  he  dreaded  harsh  and  unsympathetic  criti- 
cism. So  he  kept  his  musings  to  himself,  but  continued  to  ponder 
and  to  read  on  the  theme,  as  leisure  offered  itself  in  the  intervals  of 
his  academic  pursuits  and  his  visits  to  Sesenheim.  For  we  have 
now  reached  the  period  of  his  romance  with  Friederike  Brion,  which 
was  also  in  its  way  a  part  of  his  preparation  for  Faust.  Friederike, 
a  girl  of  eighteen,  was  the  daughter  of  a  Lutheran  pastor  living  at 
Sesenheim,  a  few  miles  from  Strassburg.  Being  introduced  at  the 
Brion  house  by  a  fellow-student,  Goethe  at  once  fell  in  love  with 
Friederike,  who  was  also  pleased  with  him.  For  a  while  the  ro- 
mance was  allowed  to  take  its  course  with  no  thought  of  the  future, 
but  presently  Goethe  saw  that  all  his  own  interests,  both  higher  and 


XXXIV  INTRODUCTION. 

lower,  required  him  to  retreat.  For  this  act  of  unromantic  perfidy, 
which  common  sense  has  always  found  it  easy  to  justify,  his  own 
conscience  did  not  acquit  him.  There  is  a  faint  echo  of  remorse 
in  the  fact  that  for  some  time  to  come  he  is  very  deeply  interested 
as  poet  in  a  certain  tragic  situation,  namely,  that  of  a  simple,  naive 
girl  with  a  '  superior '  lover  whose  worldly  plans  would  be  interfered 
with  by  marriage.  The  situation  recurs  in  four  of  his  early  plays. 
In  the  first,  Gotz  von  Berlichingen,  the  tragic  nemesis  falls  only  on  the 
perfidious  lover :  Weislingen  is  poisoned  and  Marie  gets  a  better 
husband.  In  Clavigo,  Marie  dies  of  a  broken  heart,  while  her 
worthless  lover  is  killed  by  her  brother.  In  Egmont,  the  lover  re- 
mains faithful,  but  Clarchen,  having  given  her  honor  and  therewith 
her  worldly  all,  for  love's  sake,  voluntarily  follows  Egmont  to  death. 
In  Faust,  the  tragic  pathos  is  thrown  altogether  upon  the  girl :  she 
suffers  an  appalling  fate,  but  her  lover  goes  unpunished  save  by  his 
own  conscience. 

In  August,  1771,  Goethe  returned,  as  a  licensed  practitioner  of 
law,  to  Frankfurt,  where  he  remained  until  the  following  May, 
when  he  went  to  Wetzlar.  In  speaking  of  this  period  he  says  that 
Faust  '  was  already  well  under  way,'*  an  expression  which,  while  it 
does  not  prove  that  anything  had  yet  been  written  down.f  does 
suggest  that  the  plan  of  the  work  must  have  been  pretty  clearly 
worked  out  by  that  time.  This  accords,  too,  with  a  statement  of 
Goethe  in  a  letter  written  to  Wilhelm  von  Humboldt,  March  17, 
1832,  in  which  he  says  that  the  '  conception '  of  Faust,  clear  from 
the  first  in  the  days  of  his  youth,  had  lain  in  his  mind  over  sixty 
years. f  What  was  this  conception?  We  shall  find  abundant  evi- 
dence of  vacillation  and  change  affecting  both  plot  and  characters. 
We  know  that  the  poet's  «  plan '  in  a  certain  sense  grew  with  his 

*  "  War  schon  vorgeriickt " ;   Werke  XXVIII.,  98. 

t  If  anything  had  been  written  at  this  time,  it  was  in  prose.     See  below,  p.  xxxviii. 
t  "  Es  sind  iiber  60  Jahre,  dass  die  Conception  des  Faust  bei  mir  jugendlich,  von 
vorn  herein  klar,  die  ganze  Reihenfolge  hin  weniger  ausfiihrlich  vorlag." 


INTRODUCTION.  XXXV 

own  growth,  and  that  the  bulk  of  what  was  to  go  into  the  poem 
could  not  have  been  foreseen  at  this  time.  What,  then,  was  that 
'  general  conception '  to  which  he  was  fond  of  insisting  in  his  old  age 
that  he  had  remained  faithful  from  the  first?  The  question  can 
only  be  answered  conjecturally  and  with  more  or  less  liability  to 
error.  It  must  be  answered,  too,  in  rather  general  terms.  Stated 
in  the  form  of  a  project  the  plan  was  something  like  this : 

The  legend  will  furnish  the  external  setting  and  costume  of  the 
drama,  and  the  puppet-play,  with  its  popular  tone,  its  free  use  of  the 
supernatural,  and  its  indifference  to  conventional  technique,  will 
supply  a  rough  outline  of  the  action.  But  the  characters  will  speak 
the  thoughts  and  feelings  of  Goethe  and  his  contemporaries.  First, 
Faust  will  be  introduced  as  a  young  university  teacher,  chafing 
under  the  limitations  of  his  knowledge,  and  hence  devoting  himself 
to  magic.  This  Faust  will  proceed  to  conjure  with  a  book  as  in 
the  puppet-play.  At  this  point,  however,  Goethe  will  deviate  from 
the  legend.  His  Faust  will  call  up  neither  a  number  of  devils  from 
whom  to  chose  the  swiftest,  as  in  the  puppet-plays  and  in  Lessing's 
Faust,  nor  yet  the  '  prince  of  hell '  as  in  the  Christlich  Meynenden 
narrative,  but,  instead,  the  Earth-Spirit,  a  personification  of  terres- 
trial nature  in  her  restless,  awe-inspiring,  inscrutable  energy. 
Then,  just  as  the  prince  of  hell  in  the  legend  refuses,  on  the  ground 
that  he  is  a  sovereign,  to  do  Faust's  will,  but  promises  to  send,  and 
then  does  send,  a  minion  of  his  to  be  the  magician's  servant,*  so 
Goethe's  Earth-Spirit,  as  a  being  of  higher  order,  will  spurn  Faust's 
friendly  advances,  but  will  after  all  send  a  spirit  of  inferior  rank, 
with  whom  the  magician  can  enter  into  relations  of  intimacy.  As 
the  Earth-Spirit  vanishes,  Faust  will  be  interrupted  by  his  famulus 
Wagner,  to  whom  he  will  proceed  to  lay  down  the  law  anent  the 
foolishness  of  the  book-worm's  ideals.  Mephistopheles  will  then  ap- 
pear in  the  form  of  a  dog,  and,  so  the  poet  now  intends,  remain  in 
that  form  for  a  while  as  Faust's  familiar  before  taking  human  shape. 


XXXVI  INTRODUCTION. 

Then,  somehow,  an  alliance  between  the  two  is  to  be  provided  for, 
but  the  poet  has  not  now  in  mind,  in  1772,  an  agreement  like  that 
introduced  later  in  lines  1692  ff.  As  friend  and  servant  of  Pro- 
fessor Faust,  Mephistopheles  will  be  given  an  opportunity  to  advise 
a  newly-arrived  freshman  with  respect  to  academic  life.  Very  soon, 
however,  Faust  will  leave  his  professorship  to  assume  the  r61e  of  a 
gay  young  cavalier  seeing  the  world  with  his  friend.  First  he  will 
appear  in  Auerbach's  Keller  and  perform  there  various  tricks  as- 
cribed to  him  in  the  legend.  Then  he  will  fall  in  love  with  Gret- 
chen.  Led  on  by  imperious  passion,  but  without  becoming  a  con- 
scienceless villain,  he  will  ruin  her  and  cause  the  death  of  her 
mother  and  brother.  Fleeing  arrest  he  will  be  away  from  her  for  a 
time,  and  then,  learning  somehow  that  she  is  in  prison  for  child- 
murder,  will  return  in  a  frenzy  of  remorse  to  liberate  her,  and  will 
thus  be  a  witness  to  her  half-insane  ravings  and  her  death  in  the 
prison.  Then  (the  transition  not  yet  provided  for),  he  will  go  to 
a  princely  court  and  do  conjurer's  tricks  for  the  amusement  of  the 
great.  Somehow  (the  scene  not  yet  clearly  motivated),  he  will 
be  united  with  Helena  and  have  by  her  a  marvellous  son.  At  last 
he  will  find  a  settled  activity  of  some  large  and  useful  kind,  and  die 
happy  in  the  thought  that  his  name  will  live  after  him  and  that 
coming  generations  will  profit  by  the  good  work  he  has  done. 

And  will  this  Faust  be  saved  ?  Suffice  it  to  say,  for  the  present, 
that  he  is  at  any  rate  not  to  be  damned  as  in  the  legend.  A  young 
poet  of  a  serious  turn  does  not  deliberately  send  his  own  soul  to 
hell.  Moreover  this  poet  is  a  Pelagian  in  theology.  He  tells  us  so 
expressly  in  explaining  how  he  came  to  drift  away  from  the  pietists.* 
They  believed  in  total  depravity,  he  did  not ;  they  in  passive  reli- 
ance on  divine  grace,  he  in  active  self-help.  This  Pelagianism  now 
underlies  subconsciously  his  conception  of  Faust.  God  is  the  Eternal 

*  At  the  beginning  of  the  fifteenth  book  of  Dichtung  und  Wahrheit.  The  passage  is 
important  for  the  understanding  of  Faust.  See  also  below  p.  lix  and  cf.  the  note  to  lines 

J38-Q. 


INTRODUCTION.  XXXV11 

Pardoner.  If  a  man  means  well  and  «  strives,'  he  will  not  be  lost 
for  following  the  impulses  of  his  nature  whereof  God  is  the  author. 
He  may  go  wrong,  but  his  wrong-doing  will  be  a  mistake,  and  God 
pardons  mistakes.  Still  this  matter  of  his  hero's  final  '  salvation' 
is  not  now  prominent  in  his  thoughts.  As  man  and  as  poet  he 
is  interested  deeply  in  this  world,  but  not  much  in  the  legendary 
heaven  and  hell.  In  fact,  as  we  shall  see,*  he  has  substituted 
for  the  supernatural  powers  of  tradition,  conceptions  of  his  own, 
which  render  the  question  of  '  salvation '  in  the  traditional 
sense  all  but  meaningless.  At  any  rate  it  is  perfectly  certain  that 
he  has  never  intended  for  a  moment  that  his  Faust,  like  that  of  the 
legend,  should  go  to  perdition  at  the  last. 

Regarding  Goethe's  preparation  for  the  first  stage  of  his  poem  as 
now  complete,  let  us  see  how  the  text  as  we  know  it  took  shape 
under  his  hands. 

IV. 

THE   GENESIS   OF   THE   FIRST   PART. 

I.   The  Pre-Weimarian  Scenes. 

The  portion  of  Faust  now  to  be  considered  had  its  origin  in  the 
most  fervid  period  of  Goethe's  youthful  storm  and  stress,  being 
contemporary  with  the  grandiose  titanism  of  Prometheus,  the 
brooding  Weltschmerz  of  Werther,  the  stormy  passion  of  Clavigo 
and  Stella,  and  the  wild  satirical  humor  of  Satyros  and  Pater  Brey. 
It  was  for  the  poet  a  time  of  utmost  mental  tension,  of  swiftly 
changing  moods  and  manifold  excitements  ;  of  high-soaring  dreams 
and  thoughts  of  suicide ;  of  lonely,  rapturous  communions  with 
nature  and  of  enthusiastic  friendships.  It  was  the  time  also  of  his 
love  for  Lili. 

Work  with  the  pen  upon  Faust  is  commonly  thought  to  have  be- 
gun in  1773,  but  it  is  quite  possible  that  certain  scenes  were  writ- 

*  Below,  p.  lix. 


XXXV111  INTRODUCTION. 

ten  down  in  prose  the  preceding  year.  Not  until  early  in  I773» 
however,  is  Goethe  known  to  have  employed  anywhere  the  Hans 
Sachs  KniMelvers,  or  doggerel  tetrameter,  which  is  the  prevailing 
meter  of  the  earliest  scenes  of  Faust.  That  the  composition  was 
in  progress  during  1773  we  have  at  least  two  indications:  first,  a 
remark  of  Goethe  in  a  letter  from  Italy  dated  March  i,  1788,  to  the 
effect  that  the  writing  out  of  Faust  was  a  very  different  thing  then 
from  what  it  was  fifteen  years  before ;  secondly,  the  fact  that 
Goethe's  friend  Cotter,  in  a  jocose  letter  of  July,  1773,  asks  for  a 
copy  of  Faust  as  soon  as  its  author  shall  have  «  stormed  it  out.'* 

The  year  1774  furnishes  several  notices  relating  to  Faust.  In 
the  summer  of  that  year  Goethe  recited  to  F.  H.  Jacobi  the  ballad 
of  the  '  King  of  Thule.'f  Boie  visited  Goethe  in  October,  1774, 
and  was  much  impressed  by  certain  scenes  of  Faust  that  were  read 
to  him.  Dec.  20,  1774,  Knebel  wrote  to  Bertuch:  «  I  have  a  mass 
of  fragments  from  him  (Goethe),  amongst  others  some  belonging 
to  a  Dr.  Faust,  in  which  there  are  some  very  fine  things  indeed. 
He  pulls  the  bits  of  manuscript  out  of  every  corner  of  his  room.' 
For  the  year  1775  we  have  various  notices,  partly  in  Goethe's  own 
letters,  partly  in  those  of  his  friends,  which  show  that  Faust  was 
progressing  and  had  already  acquired  a  good  deal  of  celebrity  in 
literary  circles.  After  the  poet's  settlement  in  Weimar  no  further 
progress  can  be  traced  for  some  twelve  years,  during  which  he  be- 
came another  man. 

*  "Schick  mir  dafiir  den  Doctor  Faust, 
Sobald  dein  Kopf  ihn  ausgebraust !  " 

Goethe  met  Cotter  at  Wetzlar  in  the  summer  of  1772.  The  verb  "  ausbrausen  "  sug- 
gests that  Gotter  knew  not  only  that  his  friend  had  a  Faust  under  way,  but  also  something 
of  its  character.  Had  Goethe,  who  returned  to  Frankfurt  in  the  fall  of  1772,  read  from 
his  prose  Faust-scenes  to  Gotter  at  Wetzlar  ?  Did  Gotter  know  by  hearsay  that  the  new 
Faust  would  be  '  stormy '  ?  Or  did  he  simply  assume  that  anything  written  by  the  Goethe 
whom  he  had  known  would  be  '  stormed  out'  ?  Cf.  Herbst,  Goethe  in  Wetzlar,  p.  154. 

t  Dichtungund  Wahrheit,  bk.  14.  There  is  no  certainty,  however,  that  the  ballad 
was  originally  written  for  Faust.  Cf.  Kogel  in  Vierteljahrschrift  fur  Lilteraturge- 
tchichte  I.,  59. 


INTRODUCTION.  XXXIX 

The  chaotic  Faust-manuscript  which  Goethe  took  with  him  to 
Weimar  in  November,  1775,  has  never  been  found,  and  its  charac- 
ter and  contents  were  until  quite  recently  matters  of  speculation. 
Very  lately,  however,  through  a  lucky  accident,  the  loss  of  the  orig- 
inal manuscript  has  been  in  part  made  good.  At  some  time  during 
his  early  years  at  Weimar,  Goethe  loaned  his  Faust  to  Fraulein 
Luise  von  Gb'chhausen,  a  maid-of-hbnor  at  the  court,  and  she 
transcribed  it  at  length  in  a  manuscript  book  of  literary  extracts. 
Here  the  copy  remained  unnoticed  among  the  effects  of  the  Goch- 
hausen family  until  January,  1887,  when  it  was  accidentally  discov- 
ered by  Erich  Schmidt,  who  at  once  published  it.*  The  copy 
shows  verse  and  prose  mixed  up  together  in  true  Shakespearian 
style.  The  word  *  act '  or  '  scene '  is  not  employed,  but  each 
separate  dramatic  picture  is  headed  with  a  sort  of  stage-direction 
indicating  the  situation.  There  is  evidence  that  the  copying  was 
done  with  very  great'care. 

The  Gochhausen  Faiist  consists  of  some  twenty  '  scenes,'  of 
which  all  but  the  first  three  pertain  to  the  tragedy  of  Gretchen.  It 
begins  with  a  scene  substantially  identical  in  form  and  matter  with 
the  present  lines  354-605  ;  containing,  that  is,  Faust's  first  solilo- 
quy, vision  of  the  macrocosm,  dialogue  with  the  Earth-Spirit,  and 
dialogue  with  Wagner.  Next  comes  a  conversation  between  Meph- 
istopheles  and  a  student.  The  text  is  mainly  that  of  the  present 
lines  1868-2050,  but  instead  of  the  cynical  comments  on  law  and 
theology,  we  find  the  devil  warning  the  youngster  against  girls  and 
gaming,  and  recommending  him  to  Frau  Sprizbierlein's  boarding- 
house.  After  this  comes  «  Auerbach's  Cellar,'  the  first  eight  lines 
in  verse  as  in  the  final  version,  the  remainder  of  the  scene,  except 
the  songs,  in  prose.  The  matter  of  the  dialogue  corresponds 
pretty  nearly  to  that  of  the  later  version,  but  one  noteworthy  fact  is 
that  here  Faust  and  not  Mephistopheles  performs  the  tricks.  The 

*  Goethe's  Faust  in  urspriinglicher  Gestalt  nach  der  Gochhausenschen  Abschrift  her- 
ausgegeben  von  Erich  Schmidt.  3.  Abdruck.  Weimar,  Bohlau,  1894. 


Xl  INTRODUCTION. 

next  scene  is  a  short  one  of  four  verses  containing  a  dialogue  be- 
tween Faust  and  Mephistopheles  about  a  cross  they  are  passing. 
The  lines  were  rejected  in  the  revision  and  published  with  the  Para- 
lipomena.  This  is  followed  by  the  tragedy  of  Gretchen,  substan- 
tially as  we  know  it  from  the  final  revision.  The  earlier  scenes, 
Faust's  meeting  with  Gretchen,  his  rakish  talk  with  Mephistopheles 
about  her,  their  visit  to  her  room  with  the  jewels,  her  girlish  glee 
over  the  ornaments,  the  talk  about  the  greedy  priests,  the  scene  at 
Martha's  house  with  the  Padua  story,  the  dialogue  about  bearing 
false  witness,  the  promenade  and  summer-house  scenes,  — all  these 
are,  aside  from  spelling  and  insignificant  textual  differences,  the 
same  and  the  same  in  sequence,  as  in  the  present  text.  Directly 
after  3216,  however,  comes  the  lyric  monologue  „  2fteine  3hil)  tjl 
Ijitt,"  followed  by  the  catechism  scene  and  the  scenes  '  At  the  Well' 
and  '  Zwinger.'*  Next  comes  the  scene  *  Cathedral '  with  the  ex- 
plicit heading  '  Obsequies  of  Gretchen's  Mother.'  After  Gretchen's 
swoon  comes  the  speech  of  Valentin,  lines  3620-45,  then  a  short 
dialogue  between  Faust  and  Mephistopheles  comprising  the  present 
lines  3650-59,  and  then  the  verses  3342-69.  Then  follow  the 
prose  scene,  but  without  the  heading  «  Dismal  Day,'  the  witch  scene 
at  the  place  of  execution,  and  the  final  scene  '  Prison,'  the  latter  in 
prose  throughout  and  without  the  consoling  '  voice  from  above  '  at 
the  end. 

At  first  it  was  generally  assumed  that  this  so-called  '  Urfaust ' 
told  the  whole  story  respecting  the  progress  of  Goethe's  great  poem 
up  to  the  time  of  his  removal  to  Weimar.  Very  soon,  however, 
it  became  evident  that  such  is  not  the  case.  There  is  matter  in  the 
First  Part  which  is  not  in  the  Gochhausen  manuscript,  but  is 
shown  by  evidence  of  style  and  language  to  be  of  early  origin. f  The 
probability  is  that  the  sheets  which  came  into  the  hands  of  Fra'u- 

*  On  the  meaning  of  this  untranslatable  word  see  the  general  note  to  the  seen* 
'Zwinger.' 

t  Cf.  Vierteljahrschriftftir  Litteraturgeschichte,  II.,  545  ff. 


INTRODUCTION.  xli 

lein  Gochhausen  were  a  '  clean  copy '  of  such  scenes  and  parts  of 
scenes  as  Goethe  himself  at  the  time  regarded  as  complete.  Other 
sheets  containing  bits  of  dialogue  and  partly  elaborated  «  concepts,' 
the  meaning  and  connection  of  which  would  hardly  be  clear  to  any- 
one but  himself,  were  retained  by  him.  It  is  also  very  likely  that 
he  took  with  him  to  Weimar,  in  various  stages  of  mental  elabora- 
tion, Faust-scenes  that  he  had  not  written  down  at  all. 

But  while  we  must  be  on  our  guard  against  supposing  that  no- 
thing in  the  poem  can  be  of  pre-Weimarian  origin  unless  it  is  found 
in  the  Gochhausen  manuscript,  the  '  Urfaust '  is  still  of  very  great 
importance,  since  the  study  of  it  shows  us  clearly  how  the  Faust- 
theme  had  presented  itself  to  the  poet  in  his  early  years,  and  what 
aspects  of  it  had  interested  him.  In  the  first  place  there  had  risen 
prominently  into  the  field  of  his  imagination  the  figure  of  Faust  pre- 
vious to  the  compact.  This  Faust  he  had  conceived,  partly  on  the 
basis  of  the  puppet-play,  partly  on  the  basis  of  personal  experience, 
as  a  youngish  professor  oppressed  by  a  sense  of  the  vanity  of  his 
learning,  and  sick  at  heart  of  shamming  knowledge  before  his  stu- 
dents ;  as  a  man  who  is  not  troubled  by  the  devils  and  spooks  of 
the  theological  sm?ll  fry  about  him,  and  so  has  none  of  their 
reasons  for  dreading  magic ;  a  man,  however,  who  does  believe  in 
the  divinity  of  nature,  and,  being  possessed  of  vague  longings  for 
wonderful  knowledge,  power  and  happiness,  supposed  to  be 
obtainable  through  communication  with  elemental  spirits,  has  de- 
voted himself  to  magic,  to  see  if  he  can  get  into  such  communica- 
tion. This  initial  conception  the  young  artist  had  then  developed 
with  true  poetic  instinct  by  means  of  two  powerful  contrasts :  Faust 
the  pigmy  in  presence  of  the  Earth-Spirit,  a  symbol  of  the  vast, 
inscrutable,  unfeeling  energy  of  nature,  that  nature  which  had 
seemed  to  Werther  « an  eternally  devouring  monster  '* ;  then, 
Faust  the  giant  in  presence  of  Wagner,  the  contented  book-worm 
happy  in  chewing  the  cud  of  traditional  learning. 

*  "  Ich  sehe  nichts  als  ein  ewig  verschlingendes,  ewig  wiederkauendes  Ungeheuer  " ; 
First  Part  of  Werther,  letter  of  Aug.  18. 


Xlii  INTRODUCTION. 

Then,  in  the  second  place,  the  poet  had  caught  and  fixed  a 
vision  of  the  same  Faust  after  the  salto  mortale  with  Mephistopheles. 
This  Faust  he  had  conceived  as  a  rakish  seducer,  subject,  how- 
ever, to  qualms  of  conscience  and  fits  of  high  sentiment ;  a  '  super- 
sensual,  sensual  lover ' ;  a  wanderer  without  home  and  without  ties, 
who  yields  all  too  easily  to  the  pull  of  lawless  passion  and  then, 
when  he  learns  of  the  ruin  he  has  wrought,  falls  into  a  paroxysm  of 
rage  and  remorse. 

Then,  thirdly,  there  was  the  figure  of  Gretchen,  whose  tragic 
story,  unfolded  in  a  series  of  powerful  pictures,  had  soon  overshad- 
owed all  else  in  the  poet's  interest. 

These  were  the  principal  features  of  the  Faust  that  Goethe  took 
to  Weimar.  Incidentally,  however,  he  had  found  in  the  theme  an 
opportunity  to  record  some  of  his  reminiscences  of  academic  life. 
The  dialogue  between  Mephistopheles  and  a  newly  arrived  fresh- 
man offered  a  superb  setting  for  his  satirical  humor,  while  a  scene 
of  coarse  revelry  in  Auerbach's  Cellar  suggested  itself  naturally  both 
on  legendary  and  on  personal  grounds.  It  is  possible  that  these 
student  scenes,  which  in  the  Gochhausen  Faust  are  here  and  there 
somewhat  boyish,  were  the  first  portions  of  the  poem  to  be  thought 
out. 

Turning  now  from  what  is  in  the  « Urfaust '  to  what  is  not  in  it, 
we  note  first  that  the  transition  from  the  first  to  the  second  Faust, 
from  the  disgruntled  professor  to  the  ready  libertine,  the  introduc- 
tion of  Mephistopheles  and  the  motivation  of  his  permanent  con- 
nection with  Faust,  are  still  to  be  provided  for.  Secondly,  there 
is  a  noteworthy  gap  in  the  love-tragedy :  it  is  necessary  to  account 
for  Faust's  long  absence  from  Gretchen  during  the  time  of  her  ex- 
tremity. « Insipid  joys  '*  have  been  promised,  but  the  picture  has 
yet  to  be  filled  in.  Thirdly,  all  that  part  of  the  action  which  was 
to  follow  the  death  of  Gretchen  is  still  untouched. 

*  Prose  scene,  '  Triiber  Tag,"  line  10.  The  '  Urfaust '  has  "  in  abgeschmackten  Freu* 
den  "  instead  of  the  later  "  in  abgeschmackten  2erstreuungen."  / 


INTRODUCTION.  xliii 

And  when  we  pass  from  the  matter  of  plot  to  that  of  portraiture, 
we  are  struck,  first  of  all,  by  the  fact  that  the  character  of  Faust  is 
here  somewhat  hard  and  unamiable.  He  discloses  but  little  suscep- 
tibility to  the  higher  and  holier  moods  of  humanity.  One  is  not 
quite  prepared,  to  be  sure,  for  his  sudden  depravity  as  lover  of 
Gretchen,  but  the  dissonance  is  much  less  sharp  than  in  the  final 
version,  since  nothing  has  gone  before  that  makes  such  rakishness 
unthinkable.*  Goethe  has  imagined  a  man  whose  disgust  with 
study  and  sense  of  limitation  have  become  an  acute  disease,  so  that 
he  is  ready  to  break  with  the  moral  order ;  and  then,  in  adjusting 
this  conception  to  the  legend,  the  poet  has  chosen  to  ally  his  Faust 
with  that  particular  devil  of  his  own  acquaintance  whose  whisper- 
ings were  referred  to  above. f  There  was  no  inner  necessity  for  so 
doing.  There  is  no  natural  connection  between  an  unsatisfied 
craving  for  knowledge  and  —  libertinism.  «  I  would  fain  be  a  god, 
but  cannot,  so  I  will  be  a  Don  Juan,'  is  not  good  psychology,  not  a 
natural  evolution  of  character,  and  in  introducing  it  into  Faust 
Goethe  prepared  difficulties  for  himself.  It  is,  of  course,  to  be  ad- 
mitted that  the  idea  of  a  disappointed  dreamer  resolving  some  day 
in  desperation  to  quit  his  brooding  and  enjoy  himself  in  the  world, 
is  in  itself  perfectly  natural ;  only  one  does  not  expect  the  leopard 
to  change  his  spots  instantly  on  escaping  from  the  cage.  It  may  be 
added,  too,  that  the  difficulties  just  referred  to  reside  not  so  much 
in  the  mere  fact  that  the  professor  becomes  a  sensualist  as  that,  in 
so  doing,  he  passes  into  a  new  world.  The  first  Faust  is  the  hero 
of  a  symbolical  action,  who  has  to  do  with  magic  books  and  Earth- 
spirits,  but  the  second  is  the  hero  of  a  perfectly  natural  love-story. 
As  we  shall  see  further  on,  this  early  interlocking  of  two  worlds  in 
one  and  the  same  action  was  destined  to  make  trouble. 

Consistently  with  what  has  just  been  said,  Mephistopheles  ap- 
pears in  the  '  Urfaust '  as  a  rake's  friend  who  has  nothing  about  him, 

*  That  is,  no  such  passages  as  lines  614-22, 762-84,  1009-10, 1178-85, 1194-1201,1210-23. 
t  Page  rxv. ,  foot-note. 


xliv  INTRODUCTION. 

except  perhaps  his  magic  horses,  to  suggest  that  he  is  not  an  ordi- 
nary human  reprobate.  His  relation  to  Faust  is  that  of  a  despised 
but  indispensable  servant.  There  has  been  as  yet  no  thought  of  a 
compact  like  the  one  finally  introduced.  Faust  can  terminate  his 
relation  with  Mephistopheles  at  any  moment.*  Mephistopheles  is 
not  concerned  to  win  Faust  by  making  sensual  pleasure  attractive, 
but  only  to  do  as  he  is  bid  and  in  so  doing  to  expose  his  master  to 
the  torments  of  conscience.  Faust  uses  his  servant  as  an  abettor 
of  his  lust,  but  professes  to  despise  him  and  occasionally  denounces 
him  as  a  beast  and  a  monster. f  At  the  same  time  he  insists  that 
he  '  must '  do  the  bidding  of  this  servant.^  Such  a  relation  is  ra- 
tional only  upon  one  supposition,  namely,  that  Mephistopheles  is  a 
personification  of  that  instinct  which  leads  a  man  to  follow  his  sen- 
sual promptings  when  he  knows  that  his  conscience  will  presently 
put  him  on'  the  rack  for  it.  In  this  way  only  can -we  understand 
this  early  Mephistopheles,  this  '  tormentor '  who  has  not  yet  re- 
ceived any  of  the  touches  that  make  his  later  self,  in  the  words  of 
Freytag,  the  '  most  lovable  of  all  devils. '§  His  character,  as  well 
as  that  of  Faust,  awaits  the  deepening,  broadening  and  sobering  of 
Goethe's  own  nature,  which  came  with  his  first  decade  in  Weimar. 

2.     The  Fragment  of  1790. 

As  was  said  above,  there  is  no  evidence  of  progress  upon  Faust 
between  1775  and  1788,  though  Goethe's  letters  and  journals  for 
this  period  give  us  a  very  complete  record  of  his  doings.  ||  The  rea- 
sons for  this  stagnation  of  the  work  are  well  known.  They  are  to 
be  sought  at  first  in  the  manifold  distractions,  later  in  the  engross- 

*  Line  2638. 

t  Lines  3207,  3536. 

t  Lines  3072,  3360. 

§  Technik  des  Dramas,  p.  48. 

||  The  oft-repeated  statement  that  portions  of  the  Helena  were  read  in  the  Weimar 
court  circle  in  1780  is  erroneous.  It  goes  back  to  Riemer's  Mitthetiungen  II.,  581,  but 
Riemer  misconstrued  a  passage  in  Goethe's  diary  which  referred  to  Hasse's  oratorio  of 
Helena.  Cf.  Kuno  Fischer,  Goethe's  Faust,  p.  249. 


INTRODUCTION.  xlv 

ing  duties  of  the  new  life ;  then  also  in  the  gradual  alienation  from 
his  former  self  which  came  with  the  momentous  change  that  took 
place  in  his  character  and  his  conception  of  the  poetic  art.  The 
storm  and  stress  subsided.  Practical  work  exercised  its  sobering 
influence.  Intercourse  with  people  of  high  refinement  led  to  a  better 
opinion  of  form,  in  life  as  well  as  in  art.  His  love  for  Frau  von 
Stein  brought  new  ideals  of  womanhood  and  opened  new  vistas  of 
poetic  creation.  He  began  to  look  back  with  little  pride  or  pleasure 
upon  the  insurgent,  formless,  extravagant  productions  of  an  earlier 
day.  His  feeling  for  nature  underwent  a  change.  Journeys  to 
Switzerland  and  the  Harz,  scientific  observation,  a  riper  knowledge 
of  Spinoza's  philosophy,  and,  finally,  the  mere  lapse  of  time,  begot 
a  calmer  attitude  in  presence  of  the  world's  mystery.  The  awful 
Sphinx  became  the  benignant  Teacher,  and  the  chief  lesson  she 
had  to  teach  was  the  lesson  of  bit-by-bil  development,  which  led 
him  to  recognize  his  own  kinship  with  all  that  lives.* 

Thus  we  understand  why  it  was  that  the  Weimar  courtier,  when 
the  spirit  moved  him  to  higher  poetic  creation,  was  not  led  to  com- 
plete the  old  projects,  but  to  begin  new  ones  like  iphigenie  and 
Tasso,  which  accorded  better  with  his  present  moods.  And 
we  see,  too,  why  even  these  new  projects  could  not  advance 
to  a  satisfactory  completion :  the  needed  leisure  and  serenity  of 
mind  were  lacking.  The  poet  felt  himself  '  entangled  in  a  net ' 
and  the  inner  conflict  between  the  artist  and  the  man  of  affairs 
produced  at  last  a  dissonance  in  his  life  which  he  himself  refers  to 
as  a  '  terrible  malady. 'f  Release  became  imperatively  necessary. 

On  escaping  to  Italy  in  September  1786,  he  took  with  him  his 
manuscript  of  Faust,  but  it  is  a  year  and  half  before  we  hear  of 
any  work  upon  it.  By  that  time  his  '  intellectual  new-birth '  was 

*  Cf.  Kalischer,  Goethe's  VerhaUniss  zur  Natunoissenschaft  in  the  Hempel  edition 
of  the  works,  XXXIII.,  p  xlix.,  ff.  ;  also  Thomas,  Goethe  and  the  Development  Hypo- 
thesis in  the  Open  Court  for  March  15,  1888. 

t  Wtrke,  Hempel  edition,  XXIV.,  143.     Cf.  Thomas's  Goethe's  Tassa,  p.  xxxu. 


xlvi  INTRODUCTION. 

accomplished:  the  dissonance  had  disappeared  and  he  had  once 
more  'found  himself  as  poet.1  Feb.  16,  1788,  he  writes  from 
Rome  with  regard  to  his  literary  work:  '  Now  there  is  almost 
nothing  more  before  my  nose  but  the  hill  Tasso  and  the  mountain 
Faustus.  I  shall  not  rest  day  or  night  until  both  are  finished.  For 
both  I  have  a  singular  inclination  and,  of  late,  wonderful  prospects 
and  hopes.  All  these  resumptions  of  old  ideas,  these  returns  to 
subjects  from  which  I  thought  myself  estranged  forever,  and  to 
which  I  hardly  dreamed  of  being  equal,  give  me  great  delight.'* 
Under  date  of  March  i,  1788,  in  the  Italienische  Reise,  we  read :  « It 
has  been  a  fruitful  week  that  seems  to  me  in  the  retrospect  like  a 
month.  First  the  plan  of  Faust  was  made,  and  I  hope  I  have  been 
successful  in  this  operation.  Of  course  it  is  a  different  thing,  writ- 
ing the  piece  out  now  from  what  it  was  fifteen  years  ago.  I  think  it 
will  lose  nothing  in  the  process,  especially  since  I  believe  I  have 
now  rediscovered  the  thread.  As  to  the  tone  of  the  whole,  too,  I 
am  of  good  cheer.  I  have  lately  worked  out  a  new  scene  and,  if  I 
smoke  the  paper,  I  should  think  no  one  would  be  able  to  pick  out 
the  old  matter.'f 

This    new    scene,    as    we    know   from   Eckermann.J   was   the 

*  Letter  to  Karl  August ;  Brief e,  viii. ,  347. 

t  This  passage  has  given  much  trouble.  Goethe  speaks  here  of  '  making  the  plan  of 
Faust,'  as  if  he  had  not  had  a  plan  before,  and  further  on,  as  if  to  reinforce  this  implica- 
tion, remarks  that  the  principal  scenes  had  been  written  down  "gleich  so  ohne  Concept.'* 
And  yet  in  his  old  age,  as  we  have  seen,  he  insisted  repeatedly  that  the  conception  of 
Faust  had  lain  clear  in  his  mind  from  the  days  of  his  youth.  The  seeming  inconsistency 
is  to  be  explained  in  this  way  :  The  early  plan  was  vague  and  general  on  its  philosophical 
side.  The  young  poet,  starting,  as  always,  from  a  mental  picture  rather  than  an  abstrac- 
tion, had  conceived  a  career  and  had  portrayed  incidents  of  it  here  and  there.  But  the 
meaning  of  the  career,  and  the  inner  logic  of  his  hero's  development  had  not  been  thor- 
oughly thought  out,  and  in  painting  his  separate  pictures  he  had  paid  little  attention  to 
these  things.  When  he  resumed  work  in  1788,  this  was  the  matter  that  troubled  him  and 
necessitated  'making  his  plan"  anew.  Years  before,  he  had  provided  mentally  for  a 
thread  of  dramatic  logic  on  which  his  beads  were  to  be  strung,  and  had  then  lost  that 
thread.  Now,  in  1788,  he  felicitates  himself  for  a  moment  as  he  thinks  he  has  rediscov- 
ered the  old  thread.  In  fact,  however,  he  will  find  that  the  old  thread  ia  worthless  and 
that  he  must  provide  a  new  one.  See  below  p.  lix. 

t  Gesprache  mit  Goethe,  under  date  of  Apr.  10,  1829. 


INTRODUCTION.  xlvii 

'Witch's  Kitchen,'  whereby  the  poet,  now  sojourning  in  the  Villa 
Borghese  at  Rome,  had  attempted  to  explain  the  transition  from 
the  first  to  the  second  of  the  somewhat  incongruous  Fausts  whose 
pictures  he  found  peering  out  at  him  from  the  old,  yellow,  thumb- 
worn,  unstitched  manuscript  that  he  had  brought  with  him  from  the 
foggy  north.  He  had  given  his  learned  professor  an  elixir  of  youth, 
which  was  at  the  same  time  a  love-philtre,  and  had  thus  transferred 
to  the  devil,  in  some  measure  at  least,  the  initial  responsibility  for 
Gretchen's  ruin.  Had  this  been  his  intention  from  the  first? 
Doubtful  and  yet  possible.  One  reads  the  Gochhausen  Faust  in 
vain  for  any  suggestion  that  its  hero  was  thought  of  as  an  old  man. 
He  has  been  teaching  ten  years,  which  suggests  a  man  in  the  prime 
of  life.  All  the  emotions  of  the  first  Faust  are  those  of  youth, 
specifically  those  of  the  youthful  Goethe ;  while  those  of  the  second 
Faust  are  such  as  the  young  Goethe  felt  would  have  been  his,  had 
he  been  the  villain  which  he  was  not.  The  legend  makes  Faust 
devote  himself  to  magic  soon  after  taking  his  degree.  On  the 
other  hand,  the  popular  drama,  needing  a  definite  point  of  time  for 
its  action,  and  fixing  its  attention  mainly  upon  the  awful  fate  of 
Faust  at  the  end  of  the  twenty-four  years,  naturally  introduced  him 
as  an  oldish  man.  One  of  the  puppet-plays  begins :  '  Countless 
years  I  have  now  been  brooding,'  etc.*  So  the  artists,  notably 
Rembrandt,  conceived  Faust  as  an  oldish  man  and  this  conception 
has  become  the  familiar  one.  Thus  Goethe  had  good  legendary 
grounds  for  introducing  his  incipient  magician  as  a  man  well  along 
in  years ;  and  while  it  is  very  doubtful  whether  that  was  his  inten- 
tion at  first,  still  he  found  nothing  in  what  he  had  written  which 
was  flatly  opposed  to  such  an  assumption.!  This  assumption  being 
made,  the  rejuvenation  of  Faust's  passions  by  means  of  a  love-potion 
presented  itself  as  the  simplest  motivation  of  his  conduct  toward 
Gretchen. 

*  The  opening  of  the  Schwiegerling  puppet-play  ;  see  above  p.  xxi. 
t  For  the  teacher  of  only  ten  years'  experience  might  be  thought  of  as  having  begun  to 
teach  somewhat  late  in  life. 


xlviii  INTRODUCTION. 

Besides  this  scene,  in  spite  of  Goethe's  fine  resolutions,  Faust 
seems  to  have  made  no  more  progress  for  some  time  to  come.  He 
may  have  written  some  portion  of  the  scene  '  Forest  and  Cavern  ' 
while  still  in  Italy,  but  this  is  uncertain.  The  «  hill '  prevailed  over 
the  '  mountain '  and  continued  to  prevail  long  after  his  return  to 
Weimar  in  June,  1788.  By  midsummer,  1789,  Tasso  was  at  last 
complete,  and  not  long  afterwards,  it  would  seem,  Faust  was  again 
taken  up.  By  this  time,  however,  Goethe  had  given  up  the 
thought  of  finishing  the  work  immediately.  Just  why,  we  can  at 
least  guess.  The  '  plan'  proved  after  all  difficult  to  manage.  The 
happy  creative  mood,  the  joy  in  the  resumption  of  old  projects, 
which  had  come  to  him  for  a  moment  in  Italy,  were  not  now  always 
at  his  command.  Absorbed  in  reminiscences  of  the  south,  he 
could  not  always  go  out  of  himself  at  will  and  return  to  the  thoughts 
and  feelings  of  his  early  manhood.  Perhaps  the  magnitude  and  the 
technical  difficulties  of  the  subject  oppressed  him.  Nevertheless, 
his  Faust  had  been  promised  for  the  new  edition  of  his  works  just 
then  going  through  the  press  of  Goschen  at  Leipzig ;  and  so  it  was 
that  he  decided  to  half-satisfy  the  public  and  his  own  conscience  by 
revising  and  printing  a  portion  of  the  scenes  on  hand  under  the 
title  Farist.  Ein  Fragment.  This  Fragment  appeared  then  in  1790, 
comprising,  with  two  '  Singspiele,'  the  seventh  volume  of  the  new 
works.  Facing  the  title-page  is  an  engraving  by  Lips,  after  Rem- 
brandt, representing  Faust  as  an  old  man  gazing  at  a  radiant  cab^ 
balistic  circle  in  his  window. 

Comparing,  now,  the  Fragment  with  the  Gochhausen  Faust,  we 
see  at  once  that  no  little  work  had  been  done  in  preparing  the 
former  for  publication.  Various  kinds  of  changes  are  to  be  noted  : 
( i )  minor  orthographical  and  verbal  changes  in  the  interest  of  a 
more  correct  and  refined  diction;  (2)  corrections  made  in  the  in- 
terest of  literary  congruity;  (3)  suppression  of  old  matter;  (4) 
addition  of  new  matter,  and  (5)  versification  of  prose.  To  go 
somewhat  into  details,  we  note  that,  excepting  changes  of  the  first 


INTRODUCTION. 

kind,  the  significant  omission  of  the  stage-direction  which  made 
the  Earth-Spirit  appear  '  in  repellent  form '  (cf.  the  note  to  line 
481-}-),  and  the  substitution  in  line  519  of  the  verse 

<5«  hrirb  mein  fdjonjks  ©Hid  gu  nid)te ! 
for  the  original 

9hm  werb  id)  tiefer  tief  311  nidjte ! 

the  first  scene,  lines  354-605,  is  kept  intact.  After  that,  however, 
comes  a  passage  not  found  in  the  Gbchhausen  manuscript  and  com- 
prising the  present  lines  1770—1867.  Then  follows  the  student 
scene  considerably  modified :  the  talk  about  girls,  gaming  and 
Frau  Sprizbierlein's  boarding-house  has  been  suppressed,  and  in 
its  place  we  have  the  famous  lines  on  theology  and  law.  After  the 
exit  of  the  student  and  the  satirical  comment  of  Mephistopheles, 
lines  2049-50,  Faust  reappears  and  we  have  the  brief  dialogue, 
lines  2051-72,  which  is  not  in  the  '  Urfaust.'  Next  comes 
'  Auerbach's  Cellar,'  in  verse  throughout,  and  with  the  r61e  of  magi- 
cian assigned  to  Mephistopheles,  Faust  being  converted  into  a  dis- 
gusted spectator.  Next,  the  scene  '  Witch's  Kitchen,'  already 
spoken  of;  then  the  tragedy  of  Gretchen  as  in  the  Gochhausen 
manuscript  (minor  verbal  changes  excepted)  up  to  '  Zwinger,'  be- 
fore which  is  inserted  the  present  '  Forest  and  Cavern.'  After  this 
come  the  scenes  '  Zwinger '  and  '  Cathedral,'  the  Fragment  ending 
with  Gretchen's  swoon  in  the  church.  The  Valentin  monologue 
and  the  three  prose  scenes  which  end  the  Gochhausen  manuscript 
are  all  omitted  from  the  Fragment. 

So  we  see  clearly  that  the  Fragment  was  the  result  of  a  deliber- 
ate selection,  much  being  withheld.  On  what  principle  was  the 
selection  made?  Obviously  the  poetic  power  of  the  scenes  was 
not  the  main  criterion.  Goethe  was  not  intent  on  giving  the  pub- 
lic random  specimens  of  his  best  work  on  the  Faust-theme.  His 
aim  was  rather  to  present  those  scenes  with  which  he  was  satisfied ; 
those  which,  both  internally  and  in  their  connection,  he  felt  to  be 


1  INTRODUCTION. 

in  full  harmony  with  his  plan  as  it  now  lay  in  his  mind ;  so  that  at 
some  future  time  he  could  complete  the  drama  by  a  process  of 
filling  in,  without  retracting  or  greatly  modifying  anything  that  had 
once  been  published.  Secondarily,  of  course,  he  wished  the  Frag- 
ment to  be  as  intelligible  as  possible  in  itself.  Accordingly  he 
inserted  the  lines  1770-1867,  beginning  abruptly  with 

llnb  tt)d«  ber  ganjen  2Jtenfd)l)eit  jugetljeilt  ifl, 

thus  providing  a  needed  setting  for  the  student  scene*  and  at  the 
same  time  making  it  clear  that  Faust's  motive  in  allying  himself 
with  the  devil  for  a  grand  tour  of  the  world  is  to  be  a  desire  not  of 
pleasure  simply,  but  of  experience.  With  the  introduction  of  this 
idea  the  career  of  Faust  acquires  at  once  a  new  interest :  we  see 
that  he  is  not  a  mere  sensualist,  but  a  man  bent  on  draining  the 
cup  of  life  to  its  dregs.  He  is  to  leave  his  bookish  pursuits  and 
participate  to  the  fullest  in  the  life  of  men,  share  in  all  its  weal  and 
woe,  and  end  the  mad  voyage  with  the  shipwreck  which  is  called 
death. f  In  this  strange  program  of  Faust  (one  hardly  knows 
whether  to  call  it  grand  or  grandiose)  we  see  a  poetic  reflection  of 
Goethe's  own  youthful 

"  Yearning  for  the  large  excitement  that  the  coming  years  would  yield."}: 

As  to  what  should  precede  line  1770,  it  is,  of  course,  not  to  be 
supposed  that  the  mind  of  the  poet  was  at  this  time  a  blank.  Some 
sort  of  '  concept '  he  no  doubt  had,  but  as  to  the  nature  of  it  we  are 

*  But  this  setting  is  not  the  one  originally  conceived.  In  the  '  Urfaust '  Mephis- 
topheles  is  made  to  appear  '  in  dressing-gown  with  a  large  wig  on  '  —  which  shows  that 
the  dialogue  had  not  been  thought  of  as  taking  place  just  before  the  pair  set  out  on  their 
travels.  The  situation  in  the  poet's  mind  had  been  rather  something  like  this:  Mephis- 
topheles  has  become  Faust's  domestic  servant  and  acts  as  a  sort  of  famulus.  In  that  ca- 
pacity, he  one  day,  in  his  master's  absence,  receives  a  caller  and  mystifies  him  when  he 
sees  that  the  boy  takes  him  for  the  famous  Professor  Faust.  Cf.  Vierteljahrsschrift  fur 
Litter aturgeschichte,  II.,  552. 

t  Line  1775;  cf.  below  p.  lix.  and  also  the  note  on  lines  1765-75. 

t  Cf.  the  significant  passage  at  the  beginning  of  Dichtung  und  Wahrheit,  bk.  9. 


INTRODUCTION. 


li 


quite  in  the  dark.  One  thing  only  is  clear :  the  compact  as  finally 
drawn  up  had  not  yet  been  thought  of.  This  is  shown  by  the  so- 
liloquy in  lines  1851-67.  The  Mephistopheles  who  speaks  here  is 
still  the  '  tormentor.'  He  would  not  have  been  made  to  use  such 
language  as  he  does  use  if  he  had  been  thought  of  as  having  but 
lately  entered  into  a  solemn  agreement  to  serve  Faust  for  life  and 
to  let  his  chance  of  final  reward  depend  on  his  satisfying}^  master 
with  some  form  of  pleasure. 

But  if  we  find  it  hard  to  guess  how  far  and  in  what  way  the 
editor  of  the  Fragment  had  mentally,  for  his  own  purposes,  filled  up 
the  gap  between  lines  605  and  1770,  we  can  at  least  understand 
the  difficulties  that  beset  him.  The  intellectual  preparation  of 
Faust  for  his  savage  revolt  against  the  moral  order,  and  that,  too, 
in  harmonious  connection  with  a  deeper  and  nobler  conception  of 
his  character,  the  introduction  of  Mephistopheles  in  such  a  way  as 
to  let  it  appear  thinkable  that  a  man  like  Faust  would  wish  to  form 
an  alliance  with  him  for  life,  the  dramatic  motivation  of  this  alliance 
itself  (since  a  professor  might  easily  give  up  his  calling  to  « see 
what  life  is '  without  formally  leaguing  himself  with  the  devil)  — 
all  these  were  poetic  problems  which  it  was  easier  to  postpone  than 
to  solve.  And  so,  postponed  they  were  —  to  be  taken  up  ten  years 
later  and  carried  to  a  solution,  which,  if  not  perfect  in  all  its  de- 
tails, is,  in  a  large  view  of  the  matter,  admirable.* 

And  when  the  poet  came  to  deal  with  his  student  scene,  he  saw 
that  some  of  it  was  rather  puerile ;  so  he  struck  out  this  part  and 
replaced  it  with  those  genial  but  penetrating  comments  upon  the 
routine  study  of  law  and  theology  ;f  comments  drawn  no  longer 
from  the  shallow  cynicism  of  an  all-too-knowing  student,  but  from 
the  deep  heart  of  the  century.  So,  too,  the  original  '  Auerbach's 
Cellar '  appeared  to  him  now  as  out  of  tune  with  his  lofty  argument. 

*  But  the  useless  and  incongruous  soliloquy,  lines  1851-67,  should  have  been  consigned 
to  the  Paralipomena. 
t  Lines  1970  S. 


Ill  INTRODUCTION. 

Faust  as  a  sardonic,  self-complacent  practical  joker  was  not  the 
Faust  that  now  filled  his  imagination.  Then  the  scene  was  too 
boisterous.  It  was  necessary  to  lift  it  out  of  the  plane  of  a  local 
student  burlesque  into  the  sphere  of  poetry.  So  he  cast  the  whole 
of  it  into  verse,  toned  down  its  coarseness  and  gave  to  Mephis- 
topheles  the  r61e  that  had  been  Faust's. 

When  the  love-tragedy  was  reached  there  was  still  the  grand 
difficulty  of  explaining  Faust's  desertion  of  Gretchen.  The  pres- 
ence of  Valentin  in  the  Gb'chhausen  Faust  shows  that  he  was  a 
part  of  the  plan  from  the  beginning.  We  may  suppose  the  original 
idea  to  have  been  something  like  this :  When  Gretchen's  shame  be- 
comes known  to  her  brother,  several  months  after  her  fall,  he  attacks 
her  seducer  and  is  killed  in  the  quarrel.  Faust  flees  to  avoid  arrest. 
While  he  is  away  Gretchen's  child  is  born  and  drowned  by  the 
frantic  mother,  who  then  wanders  about  for  some  time  as  a  home- 
less vagrant  before  she  is  imprisoned  and  condemned  to  die.  All 
this,  think  of  it  as  we  may,  must  take  several  months.  Meanwhile 
Faust,  in  ignorance  of  her  fate,  was  to  be  'lulled  in  insipid  joys' 
by  Mephistopheles.  But  how  was  this  to  be  managed?  To  make 
Faust,  as  the  possessor  of  a  conscience,  and  after  all  his  high  pro- 
testations of  love,  leave  Gretchen  and  be  away  for  months  without 
an  effort  to  see  her,  and  that  after  having  caused  the  death  of  her 
mother  and  brother,  was  very  unnatural.  His  rage  on  the  discov- 
ery of  her  plight  would  be  but  small  atonement  for  such  conduct. 
And  then,  what  were  those  '  insipid  joys'  to  be?  Had  the  «  Wal- 
purgis-Night '  been  thought  of  from  the  first?  Probably  not,  since 
the  festival  of  the  witches  occurs  on  the  eve  of  May-day,  while 
Gretchen's  fall  takes  place  in  the  season  of  blossoming  daisies,  and 
in  the  cathedral  scene  she  is  far  on  the  way  toward  motherhood.* 

Here  was  a  tangle  which  it  was  not  easy  to  straighten  without 
sacrificing  the  dignity  and  consistency  of  Faust's  character ;    and 

*  Lines  3790-3.     Cf.  the  introductory  note  to  the  scene  '  Cathedral.' 


INTRODUCTION.  lift 

the  poet  was  not  yet,  in  1789,  ready  to  do  what  he  did  finally, 
namely,  make  the  sacrifice  in  cold  blood  and  totally  disregard  the 
requirements  of  his  realistic  love-tragedy.  He  preferred  to  post- 
pone the  difficulty,  by  omitting  from  the  Fragment  not  only  the 
'  insipid  joys,1  but  also  Valentin  and  the  three  concluding  scenes. 

The  only  new  matter  in  the  Fragment,  beside  what  has  now  been 
spoken  of,  is  the  scene  «  Forest  and  Cavern, 'and  of  this  the  signifi- 
cant lines  3345-69,  beginning 

SBa8  ifi  Me  £itntnet8freub'  in  iljren  &rmen ! 

are  found  in  the  Gochhausen  Faust.  We  may  therefore  safely  re- 
gard these  verses  as  the  nucleus  of  the  whole  scene,  and  look  to 
them  for  its  germ  idea.  Doing  so  we  see  clearly  what  Goethe  was 
here  concerned  with :  it  was  to  show  the  libertine  Faust  suffering 
the  pangs  of  conscience.  He  saw,  however,  and  saw  no  doubt 
much  earlier  than  1789,  that  so  important  an  idea  demanded  fuller 
treatment ;  it  was  not  enough  to  despatch  it  in  a  few  words  spoken 
by  his  hero  while  on  the  way  for  one  of  his  nocturnal  visits  to  his 
paramour.  Hence  came  the  thought  of  taking  Faust  out  into  the 
woods  where  he  himself  in  earlier  days  had  been  wont  to  seek  re- 
lief from  over-tension  of  feeling.  In  the  sixth  book  of  Dichlung 
und  Wahrheit,  he  describes  a  secluded  spot  in  the  woods  near 
Frankfurt  to  which  he  resorted  with  an  elderly  friend.  On  one  oc- 
casion the  friend  begins  to  explain  how  the  ancient  Germans,  as 
described  by  Tacitus,  were  also  given  to  communing  with  the 
mystic  divinity  of  the  woods.  Whereupon  the  boy  interrupts : 
'  O,  why  does  not  this  precious  spot  lie  in  the  depths  of  the  wil- 
derness? Why  may  we  not  hedge  it  in,  in  order  to  consecrate  it 
and  ourselves  and  separate  both  from  the  world  !  Surely  there  is 
no  more  beautiful  worship  than  that  for  which  no  symbol  is  needed, 
that  which  springs  from  our  heart  simply  through  communion  with 
nature  ! '  —  From  such  experiences  came  the  dramatic  idea  of  letting 
Faust  retire  to  the  woods  to  commune  with  himself  in  his  guilty  un* 


Hv  INTRODUCTION. 

rest  and  be  joined  in  due  time  by  Mephistopheles,  who  should 
ridicule  his  scruples  and  urge  him  to  go  back  to  the  city  and  «  en- 
joy '  himself  in  the  embraces  of  Gretchen. 

The  general  conception  of  the  scene  as  thus  described  was  very 
likely  of  early  origin.  But  when  the  preliminary  soliloquy  of  Faust, 
Faust  alone  with  the  woods,  came  to  be  worked  out  in  1788  or 
1789,  (for  the  perfect  iambics  can  hardly  have  been  written  earlier), 
the  task  found  a  poet  whose  thoughts  were  no  longer  fixed  so  much 
upon  the  dramatic  requirements  of  the  scene,  not  so  much  upon  the 
angry  pathos  of  the  dialogue  about  Gretchen  which  was  to  follow, 
as  upon  the  opportunity  offered  for  giving  expression  to  his  own 
maturer  feelings  of  sympathy  with,  and  gratitude  to,  the  Universal 
Mother.  Thus  the  soliloquy  took  its  present  form.  In  a  serene 
and  exalted  mood,  Faust  returns  thanks  to  the  Earth-Spirit,  con- 
ceived as  the  giver  of  all  things,  for  the  high  feelings  he  has  been 
permitted  to  enjoy.  Then,  by  way  of  leading  up  to  the  coming 
dialogue,  he  deplores  the  fact  that  the  spirit  has  also  sent  Mephis- 
topheles, who,  with  his  sneering,  <  converts  the  good  gifts  into 
nothingness.' 

Having  completed  the  scene  in  this  way,  Goethe  inserted  it  in 
the  Fragment  where  it  obviously  belongs,  namely,  after  the  scene 
«  At  the  Well,'  in  which  it  is  clearly  intimated  that  Gretchen's  honoi1 
is  lost.  Later,  however,  he  transposed  the  scene  to  its  present 
position.  The  reasons  for  this  change  are  discussed  below. 

3.    The  Completion  of  the  First  Part. 

Such  was  the  '  Fragment '  that  came  from  the  press  just  as  Eu- 
rope was  beginning  to  vibrate  to  the  first  throes  of  the  Revolution. 
It  made  no  great  stir  in  literary  circles,  but  among  the  few  who  saw 
in  it  the  « torso  of  a  Hercules '  was  Schiller,  whose  correspondence 
with  Goethe  now  becomes,  after  the  completed  text  itself,  our  main 
source  of  knowledge  respecting  the  progress  of  the  poem  in  the 


INTRODUCTION.  Iv 

next  stage  of  its  genesis.  This  correspondence  gives  us,  to  be 
sure,  but  little  information  with  regard  to  any  details  of  construc- 
tion ;  its  chief  value  consists  in  the  light  it  throws  upon  the  spirit 
and  manner  in  which  Goethe  proceeded  to  the  completion  of  the 
First  Part.  The  most  important  notices  bearing  upon  this  subject 
will  now  be  brought  together. 

In  a  letter  of  Nov.  29,  1794,  Schiller  writes  enthusiastically  of  his 
interest  in  Faust,  and  of  the  pleasure  it  would  give  him  to  read 
some  of  the  unpublished  scenes.  Goethe  replies  that  he  does  not 
dare  untie  the  package  containing  them ;  he  could  not  copy  with- 
out elaborating,  and  for  that  he  has  not  the  heart.  Still,  he  adds, 
if  anything  could  induce  him  to  go  on  with  the  work,  it  would  be 
Schiller's  interest  in  it.  Jan.  2,  1795,  the  younger  poet  renews  his 
request  still  more  urgently,  but  to  no  effect ;  then  he  ceases  impor- 
tuning and  two  years  pass.  June  22,  1797,  Goethe  suddenly  an- 
nounces that  he  is  going  to  resume  Faust,  and  if  not  complete  it, 
at  least  forward  it  a  good  bit.  To  this  end  he  is  now  separat- 
ing what  has  been  printed  and  disposing  it  '  in  large  masses '  to- 
gether with  «  what  is  already  finished  or  invented '  (but  not  printed) , 
and  so  preparing  to  carry  out  his  '  plan  which  is  properly  only  an 
idea.'  This  '  plan  '  is  precisely  what  is  now  engaging  his  thoughts 
and  he  finds  that  he  is  tolerably  agreed  with  himself.  '  Our  ballad- 
study,'  he  continues,  '  has  brought  me  back  to  this  misty,  foggy  path, 
and  circumstances  counsel,  for  more  than  one  reason,  that  I  wan- 
der about  in  it  for  a  time.'  Schiller  at  once  replies  expressing  his  de- 
light, and  the  next  day,  June  24,  Goethe  writes  that  really  his  re- 
turn to  Faust  is  a  measure  of  prudence.  Since,  after  all,  he  is  not 
to  go  to  Italy,  as  he  had  hoped,  but  has  another  northern  winter 
in  prospect,  and  does  not  wish  to  bore  himself  and  his  friends  with 
idle  brooding  over  his  disappointment,  he  is  pleasing  himself  with 
the  idea  of  a  return  to  the  '  world  of  symbol,  idea,  and  fog.'  '  At 
first,'  he  proceeds,  «  I  shall  only  try  to  finish  the  large  masses  that 
have  been  invented  and  half  worked  out,  fit  these  to  what  has  been 


Ivi  INTRODUCTION. 

printed,  and  so  go  on  to  the  end  of  the  circle.'  June  26  Schiller 
writes  at  some  length  of  Faust,  of  the  embarrassing  magnitude  of 
the  subject,  of  the  difficulty  involved  in  finding  a  poetic  frame  to 
contain  it,  in  holding  the  balance  between  understanding  and 
reason,  jest  and  earnest,  and  in  adapting  the  philosophical  part  to 
the  popular  legend.  To  this  Goethe  replies  the  next  day  thank- 
ing Schiller  for  his  observations.  '  As  was  natural,'  says  he, 
'  they  coincide  very  well  with  my  own  plans  and  purposes, 
save  that  I  shall  take  things  somewhat  more  easily  with  this  bar- 
barous composition,  and  try  to  touch,  rather  than  to  satisfy,  the 
highest  demands.  Thus  probably  reason  and  understanding  will 
knock  one  another  around  like  two  prize-fighters,  only  to  lie  down 
peacefully  at  nightfall.  I  shall  take  care  that  the  parts  be  agree- 
able and  entertaining,  and  afford  something  to  think  of.  As  to  the 
whole,  which  will  always  remain  a  fragment,  our  new  theory  of  the 
epic  may  come  in  play.' 

In  a  few  days,  however,  the  «  air-phantoms  of  Faust '  are  dis- 
pelled by  southern  reminiscences,  and  we  hear  no  more  of  it  for 
several  months.  Dec.  6,  1797,  Goethe  writes:  'Pray  keep  to 
your  Wallenstein.  I  shall  probably  go  at  my  Faust  next,  partly  in 
order  to  be  rid  of  this  tragelaph,*  partly  to  prepare  myself  for  a 
higher  and  serener  mood,  perhaps  for  7>//.'f  Feb.  3,  1798,  he  is 
'  thinking  somewhat  more  earnestly  of  Faust,"1  and  sees  in  it  occupa- 
tion for  a  year.  April  1 1  he  is  working  at  it  and  finds  the  vernal 
mood  good  for  a '  rhapsodical  drama.'  May  5  he  reports  good  prog- 
ress made  on  Faust,  and  remarks  upon  a  «  curious  case '  that  has 
turned  up  in  connection  with  his  work.  '  Some  of  the  scenes,'  he  ob- 
serves, '  were  written  in  prose,  and  they  are,  in  comparison  with 
the  rest,  quite  intolerable  in  their  naturalness  and  force.  So  I  am 
now  trying  to  put  them  into  rime,  whereby  then  the  idea  will  ap- 
pear as  through  a  vail,  and  the  immediate  effect  of  the  monstrous 

*  TpayeAcuf>os,  '  goat-stag,'  '  fantastic  animal.' 

t  Goethe  was  then  meditating  an  epic  on  the  Tell-saga. 


INTRODUCTION.  Ivii 

matter  will  be  subdued.'  (This  refers,  of  course,  to  the  scenes 
'  Dismal  Day,' and  'Prison';  the  former  resisted  the  transmuting 
process  and  was  finally  left  in  prose.  See  below,  p.  Ixiv.) 

Shortly  after  this  date,  the  Schiller-Goethe  correspondence  be- 
comes silent  respecting  Faust  until  the  summer  of  1800,  when  we 
have  several  references  to  it.  At  this  time,  however,  it  is  the  in- 
cident of  Helena  that  is  on  the  anvil.  Sept.  13,  1800,  Schiller 
counsels  his  friend  not  to  be  disturbed  over  the  <  barbarization  of 
the  beautiful  forms  and  situations'  (i.  e.  the  blending  of  the  Faust- 
legend  with  the  antique) ,  and  suggests  that  this  hint  may  be  of  use 
in  connection  with  the  Second  Part,  —  which  is  the  earliest  reference 
to  any  plan  of  making  two  parts.  We  may  conjecture  that  the 
expedient  had  presented  itself  to  Goethe  not  long  before  in  con- 
nection with  his  work  upon  the  Helena  incident.  This,  in  his 
earlier  plan  no  doubt  an  episode,  as  in  the  puppet-play,  had  now 
come  to  stand  forth  in  his  imagination  as  the  culminating  point  of 
the  entire  action.  It  needed,  therefore,  to  be  elaborated  at  length. 
Once  suggested,  the  idea  of  a  Second  Part  may  have  commended 
itself  the  more  on  account  of  Schiller's  example  in  Wallenstein. 

In  the  spring  of  1801  we  hear  of  another  period  of  creative  ac- 
tivity. March  1 1  Faust  is  '  progressing  slowly.'  Apr.  6  Goethe 
'  hopes  that  soon  nothing  will  be  lacking  in  the  great  gap  (i.  e.  be- 
tween lines  605  and  1772)  except  the  disputation';  but  this,  he 
adds,  is  a  « work  by  itself,  which  will  not  be  easily  extemporized.' 
Here  the  Faust-notices  of  the  correspondence  end,  nor  do  we  get 
much  light  from  any  other  sources  extraneous  to  the  text  about  the 
further  progress  of  the  poem.  In  his  Tag-  und  Jahreshefte  for 
1806,  Goethe  enters  the  record  §oufl  in  feiner  je^igen  ©eftalt  frag= 
mentartfd)  befyanbelt";  which  means,  seemingly,  that  the  First  Part  as 
we  now  know  it  was  then  finally  got  ready  for  the  printer.  It  ap- 
peared in  the  spring  of  1808,  constituting  Volume  8  of  the  first  Cotta 
edition  of  Goethe's  works. 

What    now  is  to  be  learned  from  these  notices?     That  which 


Iviii  INTRODUCTION. 

impresses  one  most  in  reading  them  is  the  cynical  tone  in  which 
Goethe  speaks  of  the  Faust- theme.  Was  this  cynicism  genuine  or 
was  it  only  a  jocose  affectation?  Did  the  poet  really  regard  his 
great  work  as  a  'monstrosity,'  and  if  so,  on  what  ground?  To 
what  extent  did  this  quasi-contemptuous  attitude  really  influence  the 
work  done  in  completion  of  the  First  Part?  The  importance  of 
these  questions  is  obvious.  If  Goethe  himself  did  not  regard  his 
work  as  artistically  coherent,  and  took  no  pains  to  make  it  so,  then 
all  attempts  to  read  coherency  into  it  are  a  sheer  waste  of  time.  On 
the  other  hand,  if  he  did  regard  it  as  a  work  of  art  built  on  a  con- 
sistent plan,  then  we  want  to  know  just  what  he  meant  by  calling  it 
a  '  tragelaph '  and  a  '  barbarous  composition.' 

With  respect  to  the  first  point,  the  genuineness  of  the  cynical 
feeling,  there  is  but  little  room  for  serious  doubt.  Some  allowance 
may  be  made  indeed  for  the  play  of  humor,  but  the  derogatory  ex- 
pressions in  the  Schiller  correspondence  are  too  numerous  and 
pointed,  and  the  evidence  of  the  text  itself  in  the  '  Walpurgis- 
Night '  and  the  '  Intermezzo '  is  too  cogent  to  be  put  aside  as  insig- 
nificant. Goethe  evidently  felt  that  the  Faust  he  was  creating  was 
going  to  be  a  peculiar  affair  with  which  he  might  take  liberties.  It 
would  lack  a  certain  kind,  and  that  the  most  common  kind,  of 
artistic  congruity.  That  is,  it  was  a  '  monstrosity.' 

The  general  grounds  of  this  feeling  are  not  hard  to  discover. 
With  his  present  classical  predilections  he  could  feel,  as  poet,  but 
little  sympathy  with  vagueness  and  extravagance.  He  was  fresh 
from  the  composition  of  Hermann,  and  the  qualities  he  most  ad- 
mired in  poetry  were  definiteness,  plasticity,  well-regulated  tech- 
nique. In  his  Faust,  however,  he  saw  a  dramatic  work  which  he 
had  begun  in  a  spirit  of  reckless  indifference  to  the  rules  and  require- 
ments of  the  drama.  The  supernatural,  that  is,  the  very  pinnacle 
of  improbability,  had  been  assumed  as  a  matter  of  course  and  made 
the  basis  of  the  action,  and  the  action  itself  was  to  consist  of 
selected  chapters  from  the  miscellaneous  experiences  of  a  life-time. 


INTRODUCTION.  lix 

The  underlying  story  was  a  mass  of  silly  superstitions  which  could 
only  be  lifted  into  the  sphere  of  serious  poetry  by  being  treated  as 
symbolical  of  things  real.  And  yet  he  had  linked  with  the  fantastic 
supernaturalism  of  the  legend  a  terribly  pathetic  love-story  which 
was  not  symbolical  at  all,  but  had  been  made  to  stand  on  its  own 
merits  as  a  picture  of  life.  His  hero,  Faust,  he  had  introduced  as 
a  man  animated  by  vague  perfervid  longings  for  the  impossible  —  at 
first  by  a  fantastic  feeling  for  nature,  then  by  an  equally  fantastic 
Weltdurst.  This  hero  he  had  then  turned  into  a  rake-unable-to- 
help-himself.  All  this  must  have  seemed  to  the  Goethe  of  1797, 
the  mature  literary  artist,  the  experienced  scientific  investigator, 
traveller  and  man  of  the  world  —  slightly  ridiculous.  And  yet  he 
knew  that  a  quarter  of  a  century  before,  he  had  wrought  his  very 
soul  into  that  same  Faust. 

Besides  this,  he  had  written  in  his  youth  with  no  very  clear  idea 
as  to  what  the  end  of  his  play  was  to  be  or  to  signify.  There  is 
not  a  spark  of  evidence  that  he  ever  intended  to  send  his  hero  to 
perdition  in  the  traditionary  way.  Nor  is  there  any  more  evidence 
that  he  intended  to  save  him.  He  had  simply  abandoned  tradi- 
tion altogether  and  invented  a  mythology  of  his  own  which  took  no 
cognizance  of  heaven  or  hell.  His  hero  was  to  drain  the  cup  of 
life  to  its  dregs  and  then  '  go  to  ruin '  —  not  to  hell,  but  to  the  gen- 
eral ruin  which  awaits  all  mankind  at  the  end  of  their  terrestrial 
voyage.  It  was  to  be  the  tragedy  of  life's  fitful  fever  lived  through 
in  delirium  and  followed  by  sleep.  What  was  to  come  after  this 
sleep  had  not  been  provided  for.  We  may  indeed  be  very  certain 
that  the  young  Goethe  had  never  planned  to  let  his  Faust  die  a  de- 
bauched and  demoralized  sensualist.  The  youth  who  at  Frankfurt 
was  dreaming  of  large  and  useful  activity  for  himself,  and  who  so 
admired  Moser's  Patriotische  Phantasten,  had  no  doubt  provided  in 
his  own  mind  that  his  Faust  should  find  at  last  some  field  of  useful- 
ness and  die  happy  in  the  sense  of  having  lived  to  some  purpose ; 
but  what  was  to  come  after  that  he  had  not  included  in  his  dramatic 


Ix  INTRODUCTION. 

scheme.  He  held  the  view,  no  doubt,  that  God  would  take  care  of 
souls  like  his  and  Faust's,  but  for  dramatic  purposes  he  probably 
had  expected  to  leave  his  hero  right  where  the  human  tragi-comedy 
does  actually  leave  us  all  when  the  curtain  goes  down,  —  in  the 
hands  of  Providence. 

But  now  the  question  presents  itself,  and  no  doubt  the  same 
question  presented  itself  to  Goethe  in  his  mature  years :  What  was 
to  be  the  import,  and  what  the  dramatic  interest,  of  such  a  tragedy  ? 
A  drama  requires  more  than  fulness  of  life  followed  by  the  quietus 
of  death ;  it  demands  struggle  directed  to  a  particular  end,  and  a 
catastrophe  in  which  the  struggle  is  decided. 

With  all  these  considerations  in  mind,  we  can  understand  the 
feelings  with  which,  in  the  plenitude  of  his  powers,  Goethe  took  up 
again  his  long  neglected  Faust.  We  can  enter  into  his  thoughts  as 
he  surveys  the  old  manuscript  and  the  pages  of  the  printed  Frag- 
ment. He  cannot  go  on  in  the  manner  or  in  the  spirit  of  his  early 
beginning.  He  must  complete  the  poem,  if  he  completes  it  all,  by 
engrafting  his  present  self  upon  it.  This,  to  be  sure,  will  leave  it  a 
'  monstrosity.'  The  plot  will  contain  incongruities,  the  characters 
will  be  inconsistent  with  themselves,  and  all  that.  Still  it  will  have 
the  consistency  of  his  own  life,  and  an  organic,  if  not  a  tectonic 
unity.  Its  unity  will  be  that  of  a  spreading,  gnarly  oak,  rather  than 
that  of  a  smart  new  villa. 

And  now,  what  is  the  nature  of  this  new  graft?  Or,  dropping 
metaphor,  when  the  poet  of  1797  has  matured  his  plans,  what  is  it 
that  he  purposes  to  do  ?  In  the  first  place,  he  will  go  no  further 
with  his  invented  mythology,  but  will  plant  himself  on  the  firm 
ground  of  legend.  He  will  bring  his  hero  into  relation  with  the 
God  and  the  devil  of  tradition.  He  will  make  this  hero's  career 
symbolize,  in  one  of  its  phases,  the  triumph  of  idealism  over  sen- 
sualism, and  this  final  triumph  and  salvation  of  Faust  he  will  fore- 
shadow by  means  of  a  prologue  in  heaven.  In  conformity  with  this 
purpose,  he  will  convert  his  devil  from  a  '  tormentor '  into  a  se- 


INTRODUCTION.  Ixi 

ducer,  whose  problem  it  shall  be  to  win  Faust  by  making  sensuality 
satisfy  him  completely.  And  as  for  Faust's  wild  longings  and 
strange  conduct,  he  will  let  the  prologue  intimate  that  this  Faust  is 
a  wanderer  in  the  dark,  who  is  to  be  duly  led  out  into  the  light. 
That  is,  Faust's  career  will  be  made  to  symbolize,  in  another  phase 
of  it,  a  clarifying  and  chastening  process. 

Let  us  now  come  to  the  details  of  the  filling-in,  following,  for  the 
sake  of  convenience,  the  order  of  the  completed  text,  though  the 
new  passages  and  scenes  were  by  no  means  written  in  that  order. 
First  came,  in  all  probability,  the  three  preliminary  poems,  but  the 
consideration  of  these  will  be  taken  up  in  another  connection. 

The  first  scene  of  the  Fragment  closed  with  what  is  now  line  605, 
and  the  immediately  preceding  speech  of  Wagner  consisted  simply 
of  the  two  lines  596-7.  The  next  four  lines  beginning  with  the 
slightly  illogical  „  bodj  SJiorgen,"  were  inserted  on  the  final  revision 
for  the  purpose  of  intimating  the  time  of  the  action  and  foreshadow- 
ing the  walk  of  Faust  and  Wagner  upon  Easter  day.  There  is  no 
hint  in  the  '  Urfaust '  or  in  the  Fragment,  that  the  action  of  the 
play  had  been  thought  of  as  beginning  at  Easter.  This  definite 
fixation  of  the  time  came  from  the  happy  idea  of  letting  Faust,  in 
his  despair  over  the  Earth-Spirit's  rebuff,  be  recalled  from  suicide 
by  the  religious  memories  of  his  youth.  The  date  fitted  in  well, 
also,  with  the  plan  which  Goethe  had  early  conceived  of  introduc- 
ing into  Faust  a  picture  of  a  popular  holiday.  It  fitted  also  with 
the  love  story  of  Heinrich  and  Gretchen,  whose  idyl  takes  place  in 
the  season  of  blossoming  daisies.  Again,  it  comported  well  with 
the  '  Walpurgis- Night,'  which  comes  on  the  eve  of  May  I.  The 
poet  seems  to  have  forgotten,  however,  that  it  did  not  comport  with 
what  he  had  written  in  the  scene  '  Cathedral,'  provided  that  was  to 
stand  before  the  «  Walpurgis-Night.' 

The  next  new  passage  is  the  second  monologue  of  Faust,  lines 
606-807.  The  artistic  motive  that  guided  the  hand  of  the  poet 
here  is  easily  discerned :  It  was  his  purpose  to  deepen  and  ennoble 


bdi  INTRODUCTION. 

the  character  of  Faust,  to  bring  him  nearer  to  our  sympathies  and 
to  give  his  pessimism  a  more  real  and  human  tinge.  It  is  but  a 
shallow  criticism  of  this  fine  monologue  to  insist  that  men  do  not  in 
actual  life  commit  suicide  because  they  find  themselves  denied  cer- 
tain knowledge  they  would  like  to  possess.  Realism  is  not  to  be 
our  poet's  watchword  hereafter,  nor  is  his  hero's  trouble  so  easily 
summed  up. 

Of  the  scene  '  Before  the  Gate,'  little  needs  to  be  said  here. 
The  philological  evidence  is  conclusive  that  it  was  planned  and 
largely  elaborated  in  the  early  Frankfurt  days,  though  the  poet 
then  had  in  mind  a  later  season  than  Easter.*  What  he  now  did 
was  to  adapt  the  scene  to  the  new  date  and  bring  out  of  it  at  last 
the  poodle.  So  also  the  first  of  the  two  scenes  headed  '  Study' 
gives  evidence,  up  to  line  1322,  of  early  origin,  though  the  ensuing 
dialogue  is  probably  one  of  the  latest  portions  of  the  First  Part. 
As  to  the  second  scene  <  Study,'  that  is,  the  part  of  it  preceding  line 
1770,  with  which  the  Fragment  breaks  in  abruptly,  it  is  difficult  to 
separate  the  new  matter  from  the  old.  Some  passages  convey  a 
strong  suggestion  of  Goethe's  youth,  but  the  most  of  the  lines  were 
probably  written  in  1801. 

We  come  next  to  the  transposition  of  the  scene  '  Forest  and 
Cavern.'  The  grounds  of  the  change  are  not  easy  to  see.  It  is 
perfectly  certain  that  the  scene  was  written  under  the  presupposition 
that  Gretchen's  honor  is  lost,  but  as  it  stands,  it  must  be  read  on 
the  assumption  that  she  is  still  innocent.  Perhaps  the  change  grew 
out  of  a  desire  to  remove  the  coarse  implication  of  a  vulgar  liaison 
involving  repeated  visits  of  Faust  to  Gretchen.  It  is  quite  clear 
that  the  poet  originally  conceived  the  relation  of  the  pair  as  precisely 
like  that  of  Egmont  and  Clarchen,  but  in  his  old  age  he  seems  to 
have  thought  he  had  so  ordered  matters  as  to  convey  the  impression 
that  Gretchen  had  sinned  but  once.  In  line  12066-7,  the  saints 
say  of  her : 

•  See  Kogelin  VieUrljahrschrift/ur  LMeratvreesckichte ,  II.,  559. 


INTRODUCTION.  Ixiii 

S)te  ftd)  etnmat  nur  ttergeffen, 
2)ie  nidjt  afynte  baft  fte  fefyte. 

It  may  be  remarked  here  that  the  omission  from  the  scene  '  Cathe- 
dral '  of  the  original  heading  which  made  known  that  the  occasion 
was  the  funeral  of  Gretchen's  mother,  was  in  line  with  this  idea  of 
putting  Gretchen's  character  in  a  more  favorable  light.  Still,  the 
text  was  never  thoroughly  revised  with  reference  to  the  point,  as 
witness  line  3675.  Again  the  transposition  of  'Forest  and 
Cavern '  may  have  been  suggested  by  a  feeling  that  the  serene  and 
lofty  mood  of  Faust  in  the  opening  soliloquy  hardly  befits  the  con- 
firmed libertine.  It  may  have  seemed  more  poetical  and  more 
creditable  to  Faust  to  depict  him  as  wrestling  with  himself  and  with 
the  devil  over  the  wrong  that  he  is  about  to  do  under  the  influence 
of  a  daemonic  passion  than  to  represent  his  fine  compunctions  as  all 
about  the  gross  question  of  repetition. 

Upon  the  whole,  however,  the  transposition  must  be  regarded  as 
unfortunate.  For,  in  the  first  place,  as  the  scene  now  stands,  there 
are  several  passages  that  do  not  read  naturally,*  and  then,  one 
wonders  why  the  jubilant  and  prosperous  lover  of  the  preceding 
scene  has  suddenly  become  a  hermit  in  the  woods. 

Our  attention  is  next  claimed  by  the  completed  Valentin  scene, 
the  early  conception  of  which  was  described  above.  In  the  Gb'ch- 
hausen  manuscript  this  scene  is  found  after  '  Cathedral,'  which 
lacks  line  3789,  with  its  allusion  to  Valentin.  The  transposition  of 
the  scene  intensifies  the  pathos  of  Gretchen's  agony  in  the  church, 
since  she  thus  appears  burdened  with  a  double  guilt.  Then,  too, 
the  scene  '  Cathedral '  had  been  conceived  as  taking  place  some 
months  after  Gretchen's  fall ;  it  could  not  therefore  come  before  the 
death  of  Valentin  if  that  was  to  be  thought  of  as  occurring  just  be- 
fore Walpurgis-Night. 

Finally,  we  have  to  do  with  the  prose  scene  and  the  carnival  on 
f 

*  Lines  3249,  3328-9,  3336,   3360-1. 


IxiV  INTRODUCTION. 

the  Blocksberg.  It  will  be  remembered  how  Goethe  himself  felt 
that  the  prose  scenes,  because  of  their  savage  force  of  expression, 
were  *  intolerable  in  comparison  with  the  rest.'  He  tried,  we  must 
infer,  to  put  both  of  them  into  verse,  but  failed  with  the  scene 
'  Dismal  Day,'  which  left  its  isolated  oddity  all  the  more  conspicu- 
ous because  the  versifying  process  succeeded  well  with  the  final 
scene  '  Prison.'  Besides  being  in  prose,  too,  the  scene  '  Dismal 
Day,1  presupposed  a  different  use  of  the  poodle  legend  from  that 
which  he  had  now  adopted  in  the  earlier  part  of  the  play.  Again, 
it  had  been  written  on  the  assumption  that  Mephistopheles  would 
appear  as  in  some  special  sense  an  envoy  of  the  Earth-Spirit,  which 
idea  had  now  been  given  up.  But  in  spite  of  these  things,  with  a 
few  trifling  verbal  changes,  —  in  went  the  prose  scene  just  as  it 
stood.  The  '  tragelaph  '  had  to  be  disposed  of! 

But  we  have  not  yet  touched  the  real  heart  of  the  'intolerable- 
ness  '  alluded  to  by  Goethe.  The  '  force  and  naturalness '  of  the 
prose  scene  are  not  out  of  harmony,  but  quite  in  harmony,  with 
'  the  rest,'  if  by  the  rest  we  mean  the  love-tragedy  to  which  it  be- 
longs. The  prose,  as  prose,  would  produce  but  a  slight  jar  if  the 
scene  came  directly  after  the  cathedral  scene :  the  reader's  infer- 
ence would  be  that  only  prose  could  adequately  express  Faust's  rag'e. 
Even  the  other  incongruities  mentioned,  though  a  few  strokes  of  the 
pen  would  have  removed  them,  would  probably  never  have  troubled 
anybody  but  philologists.  The  real  dissonance  lies  not  in  the 
prose  scene  at  all,  but  in  the  scene  which  Goethe  had  now  written 
and  designed  to  precede  it.  Taken  by  itself  as  a  separate  work  of 
art,  the  «  Walpurgis-Night '  is  in  its  way  admirable,  but  viewed  in 
its  connection  as  a  link  in  the  drama,  it  can  only  be  explained  as  a 
wanton  freak  of  poetic  cynicism.  We  are,  of  course,  to  assume 
that  the  revels  of  the  Brocken  are  the  <  insipid  diversions  '  referred  • 
to  in  the  prose  scene,  though  Faust  has  not  found  them  insipid. 
But  they  take  place  in  the  spring  before  Gretchen  is  a  mother,  and 
must  therefore  have  'been  ancient  history  at  the  date  of  the  prose 


INTRODUCTION.  Ixv 

scene.  What  has  Faust  been  doing  in  the  meantime?  And  then 
why  this  frenzied  rage  at  Mephistopheles  for  '  lulling  him  in  insipid 
diversions '  when  he  has  been  taking  part  in  them  with  the  zest  of 
a  person  whose  conscience  is  in  no  need  of  diabolical  '  lulling '  ? 
The  man  who  has  been  joining  in  the  lewd  mirth  of  naked  witches 
is  not  the  man  to  be  thrown  into  a  fury  by  hearing  of  the  sad  fate 
of  a  girl  whom  he  has  seduced.  And  why  should  Faust  on  the 
Brocken  refer  to  his  love  in  elegiac  tone  as  a  distant  memory,  and 
why  should  he  have  a  vision  of  the  beheaded  Gretchen  when  it  is 
but  a  day  since  he  left  her  alive  and  well  ?  And  why  should  hope- 
less confusion  be  brought  into  the  chronology  of  a  natural  order  of 
events  ?  * 

To  these  questions  there  is  no  answer  that  is  altogether  creditable 
to  Goethe's  poetic  conscience.  It  pleased  his  fancy  to  write  the 
'  Walpurgis-Night '  as  an  itude  in  the  uncanny  and  the  gross,  and  a 
satire  upon  contemporary  men  and  tendencies  that  he  did  not  like. 
In  painting  the  picture  he  simply  gave  the  rein  to  his  present  humor 
with  no  serious  concern  about  the  inner  or  the  outward  harmony  of 
what  he  was  now  writing  with  the  love-tragedy  that  he  had  written 
a  quarter  of  a  century  before.  The  result,  as  we  have  it,  is  unde- 
niably a  blemish  in  the  poem.  The  idea  of  the  scene  may  be  ac- 
cepted as  good.  The  Faust  of  the  legend  visits  hell.  Mephisto- 
pheles as  a  purveyor  of  sensual  pleasures  would  naturally  wish  to  take 
his  patron  sooner  or  later  to  the  grand  festival  on  the  Blocksberg. 
Goethe  had  all  along  intended  some  such  picture  for  the  interval 
between  Valentin's  death  and  Faust's  discovery  of  Gretchen's 
plight.  Thus  the  idea  of  the  scene  came  naturally  enough.  Nor 
is  it  reasonable  to  find  fault  with  the  poet  for  not  attuning  the 
'  Walpurgis-Night '  as  a  whole  to  the  high  pathos  of  the  love-trag- 
edy: that  would  have  been  poetically  out  of  the  question,  and, 

*  As  the  text  stands  we  go  backward  in  time  when  we  pass  from  the  cathedral  scene  to 
the  Walpurgis-Night,  or  else  lines  3790-3  have  to  be  ignored.  Cf.  the  introductory  note 
upon  the  cathedral  scene. 


Ixvi  INTRODUCTION. 

besides,  he  was  now  no  longer  a  master  of  high  pathos.  It  is 
simply  pedantic,  too,  to  condemn  austerely  the  element  of  personal 
satire ;  one  may  enjoy  that,  especially  where  it  has  some  broad 
universal  import,  and  one  may  even  put  up  with  a  little  nonsensical 
mystification.  But  the  poet  might  have  spared  us  the  wanton  de- 
gradation of  his  hero's  character,  he  might  have  taken  a  little  more 
pains  to  harmonize  the  scene  technically  with  what  goes  before  and 
what  comes  after,  and  he  might  have  found  some  other  place  in  his 
works  for  the  trivial  and  obscure  personalities  which  make  up  a 
good  part  of  the  '  Intermezzo.' 

But  while  we  may  fairly  charge  the  author  of  Faust  with  carrying 
his  cynicism  too  far  in  this  portion  of  his  work,  we  should  not  let 
our  impatience  lead  us  to  take  the  wrong  side  on  the  main  issue. 
Many  able  critics  have  made  the  mistake  of  siding  with  the  young 
Goethe  against  his  maturer  self.  They  have  praised  the  youthful 
realism,  which  we  see  at  its  best  in  the  Gretchen  scenes,  as  worthy 
of  all  admiration,  and  have  treated  his  later  manner  as  an  aberration 
from  the  right  path.  It  is  this  mistake  which  was  chiefly  responsi- 
ble for  the  long  eclipse  of  the  Second  Part  and  for  the  undue  exal- 
tation of  the  love-tragedy.  Many  readers,  stopping  with  the  First 
Part,  and  further  influenced  perhaps  by  the  prominence  of  Gretchen 
on  the  stage,  have  been  led  to  think  of  her  as  the  heroine  of  the 
play  in  the  same  sense  that  Faust  is  its  hero.  To  such  persons  the 
'  Walpurgis-Night '  could  hardly  seem  anything  else  than  a  dark 
enigma  to  be  dimly  comprehended  perhaps  on  the  one  supposition 
that  the  tragedy  was  to  end  with  the  First  Part  and  Faust  to  be 
sent  to  perdition  for  his  conduct  toward  Gretchen. 

The  truth  is,  however,  that  the  love-story  is  only  an  incident  of 
the  '  little  world.'  It  is  an  episode  which  the  young  Goethe,  enam- 
ored of  the  lifelike  pictures  he  was  creating,  and  not  yet  clear  as  to 
the  ethical  import  or  the  poetic  requirements  of  his  theme,  had 
permitted  to  grow  into  a  drama  by  itself;  a  drama  which,  admirable 
as  it  is  in  its  kind,  has  nothing  to  do  with  the  legend  and 


INTRODUCTION.  Ixvii 

would  read  as  well  if  published  separately  under  the  title  of 
'  Heinrich,  Gretchen  and  lago.'  In  his  riper  years,  Goethe  came 
to  see  clearly  that  pathetic  realism  was  not  the  element  in  which  a 
poem  based  on  the  Faust-legend  should  live  and  move.  Humor, 
the  poetic  revivification  of  Tradition's  dream-world,  with  here  and 
there  a  bit  of  playful  symbolism,  —  this  was  to  be  the  element.  It 
was  not  a  question  of  the  merits  of  realism  per  se,  but  of  the  re- 
quirements of  this  particular  theme.  And  on  this  question  there  is 
to-day  no  room  for  doubt  that  the  Goethe  of  1800,  much  wiser  in 
every  way  than  the  Goethe  of  1775,  was  entirely  right.  It  was  not 
for  him  therefore  to  be  over-anxious  about  introducing  a  discordant 
passage  into  the  pathos  of  his  love  tragedy.  He  had  invited  the 
world  to  think  of  his  hero  as  a  '  good  man '  and  had  made  some 
effort  to  rescue  this  hero's  title  to  that  name.  But  he  must  have 
felt,  as  every  reader  feels,  that  the  effort  had  not  been  altogether 
successful.  In  spite  of  the  '  Witch's  Kitchen,'  in  spite  of  Faust's 
'  I  must,'  and  in  spite  of  the  devil,  one  feels  that  the  seducer  of 
Gretchen  is  detestable,  and  the  more  so  for  his  fine  sentiment.  It 
was  not  possible  to  save  the  dignity  or  the  consistency  of  his  char- 
acter. Why  then  make  the  attempt,  especially  since  he  was  to  be 
presented  as  a  '  wanderer  in  the  dark '  ?  Why  introduce  him  in  the 
r61e  of  a  solemn  puritan  among  the  mythical  lubricities  of  the 
Brocken?  Why  not  let  him  rise  to  the  humor  of  the  situation  and 
enjoy  himself  like  a  man  fully  alive  to  the  greatness  of  his  opportu- 
nity ?  And  why  trouble  about  matters  of  time  and  space  and 
quotidian  probability,  since  all  such  bonds  were  to  be  thrown  to  the 
winds  in  the  remainder  of  the  poem  ? 

Some  such  thoughts  as  these,  we  can  imagine,  had  flitted 
through  the  mind  of  the  author  of  the  '  Walpurgis-Night.'* 

*  Cf.  G.  Witkowski's  little  book,  Die  Walpurgisnackt.  Leipzig,  1894.  This 
excellent  essay  discusses  the  scene  thoroughly  from  the  genetic  and  also  from  the  aesthetic 
point  of  view,  taking  on  the  whole  a  little  more  favorable  view  of  it  than  is  taken  in  the 
text  above.  All  that  can  reasonably  be  said  in  defense  of  it  is  there  very  well  put. 


Ixviii  INTRODUCTION. 

V. 

THE   COMPLETED   FIRST   PART. 

But  now,  the  letters  to  Schiller  tell  us  also  another  story.  They 
tell  us,  namely,  of  earnest  ponderings  on  the  '  plan,'  the  '  idea,'  of 
Faust.  In  spite  of  his  cynical  references  to  the  theme,  the  poet 
felt  that  what  he  was  creating  was,  with  all  its  barbarism  and  '  mon- 
strosity,' a  work  of  art.  He  probably  did  not  realize  at  this  time, 
as  he  did  in  his  latter  days,  that  this  Faust  was  to  be  the  great 
work  of  his  life.  When  he  published  the  First  Part,  too,  he  probably 
thought  it  very  doubtful  whether  he  should  ever  complete  the  work, 
and  this  doubt,  this  feeling  that  very  likely  the  ' tragedy '  would 
always  remain  a  fragment,  may  have  made  him  more  indifferent 
than  he  otherwise  would  have  been  to  the  imperfections  just  dis- 
cussed. But,  on  the  other  hand,  there  is  no  good  reason  to  doubt 
that  when  he  published  the  First  Part  he  felt  that  what  he  had  put 
into  it  was,  notwithstanding  its  incongruities,  in  harmony  with 
his  general  plan  and  hence  sufficiently  consistent  with  itself.  '  For,' 
as  he  observes  in  Dichtung  und  Wahrheit,  '  the  inner  content  of 
the  matter  treated  is  the  beginning  and  the  end  of  art.'  Now  it  is 
of  prime  importance  in  the  study  of  Faust  to  understand  this  '  inner 
content,'  which  gives  to  the  whole  its  unity  and  consistency.  For 
the  purpose  of  bringing  this  clearly  into  view  we  will  now  enter 
upon  a  brief  analysis  of  the  completed  First  Part. 

The  first  two  of  the  three  preliminary  poems  have  nothing  to  do 
with  the  action  and  so  need  not  occupy  us  here.  The  Prologue, 
however,  is  vital.  It  indicates  clearly  the  general  character  and 
final  outcome  of  the  action.  We  are  not  to  have  a  drama  of  sin 
and  damnation,  as  the  legend  would  suggest,  but  a  drama  of  intel- 
lectual clarification.  The  dialogue  acquaints  us  with  Faust  as  a 
man  of  high  ideal  aspirations,  a  'good  man,'  a  'servant'  of  the 
Lord,  whose  service,  however,  is  just  now  '  confused.'  But  the 
Lord  promises  that  he  shall  be  led  out  '  into  the  clear '  —  a  phrase 


INTRODUCTION.  IxJX 

which  does  not  refer  to  Faust's  final  reception  into  heaven,  though 
that,  too,  may  be  implied,  but  to  the  clearing  up  of  his  '  confusion ' 
on  earth.  Mephistopheles,  appearing  here  as  a  cynical  '  wag,' 
thinks  that  Faust's  high  yearnings  are  so  much  nonsense,  and 
craves  permission  to  'lead  him  in  his  way,'  i.  e.,  to  give  him  a 
taste  of  earth's  pleasures ;  he  is  confident  that  he  can  soon  make 
Faust  '  eat  dust  with  pleasure,'  i.  e.,  be  satisfied  with  an  animal  ex- 
istence. The  Lord  gives  him  permission  to  try  his  arts  upon  Faust 
during  the  latter's  earthly  life,  but  forewarns  him  that  he  will  fail. 
Mephistopheles  accepts  the  offer  jauntily.  He  does  not  care  for 
'  dead  men' ;  it  will  be  reward  enough  for  him,  in  the  event  of  suc- 
cess, to  be  allowed  to  boast  of  his  triumph  over  the  Lord. 

We  are  now  introduced  to  Faust  in  his  •  confusion.  He  is  out 
of  humor  with  life  and  is  chafing  morbidly  under  the  necessary  lim- 
itations of  human  existence.  Nominally  and  at  first,  that  which 
troubles  him  is  his  lack  of  certain  knowledge  that  he  thinks  he 
needs  for  his  own  peace  of  mind  as  man  and  as  teacher ;  but  when 
he  describes  the  nature  of  his  longing,  we  begin  to  see  that  it  is  for 
something  not  attainable  by  mortals.  This  superhuman  character 
of  his  yearnings  becomes  more  apparent  farther  on  :  he  would  fain 
be  an  elemental  spirit,  dreams  of  '  flowing  through  the  veins  of 
Nature  and  enjoying  the  life  of  gods,'  and  of  '  soaring  away  to  new 
spheres  of  pure  activity.'  Later  we  find  him  pining  to  fly  away  after 
the  sun  like  a  bird,  and  to  be  wafted  through  space  in  a  magic 
mantle.  In  other  words,  he  is  not  content  to  « stand  before  Nature 
simply  as  a  man.'  He  feels  his  human  existence  as  a  galling  fetter, 
instead  of  seeing  in  it  an  opportunity  for  free  activity.  Just  this  is 
his  '  confusion,'  and  the  '  clearing  up 'is  to  consist  in  the  transform- 
ation of  this  attitude  toward  life  into  another  which  may  best  be  de- 
scribed by  the  phrase  resignation  without  apathy. 

But  to  return  to  the  argument.  Pursuing  his  superhuman  vaga- 
ries, Faust  has  devoted  himself  to  magic.  With  the  aid  of  a  book 
that  he  has  somehow  secured  he  succeeds  in  calling  up  the  Earth- 


Ixx  INTRODUCTION. 

Spirit,  but  when  he  meditates  a  friendly  approach  to  this  being  of 
a  higher  order,  he  is  met  with  a  rebuff  which  tells  him  plainly  that 
the  coveted  knowledge,  the  wished-for  footing  of  intimacy  with 
divine  power,  the  high  destiny  of  godlike  activity  and  unmixed  hap- 
piness, are  not  for  the  like  of  him.  Then  Wagner  appears  and  the 
dialogue  with  him  shows  us  Faust's  idealism  in  a  somewhat  saner 
form  (his  love  of  truth  and  hatred  of  shams),  though  he  is  still 
somewhat  quixotic  in  the  fury  of  his  assault  upon  Wagner's  harmless 
academic  windmills.  With  the  exit  of  Wagner  Faust  is  thrown 
back  upon  himself.  He  had  set  his  supreme  hope  on  the  spirit- 
world  and  this  has  failed  him;  what  is  there  left?  In  his  despair 
he  is  led  on  to  a  mournful  indictment  of  life  in  general.  The 
mistre  of  his  existence  vanquishes  the  will  to  live  and  he  resolves  to 
die ;  but  as  he  sets  the  poison  to  his  lips  he  hears  the  Easter  music 
which  reminds  him  of  a  youth  made  happy  by  a  religious  faith  that 
is  now  no  longer  his.  The  sweet  memory  stays  his  hand.  The 
next  afternoon  he  takes  a  holiday  walk  with  Wagner,  in  the  course 
of  which  his  brooding  pessimism,  his  rooted  conviction  of  the  bad- 
ness of  man's  lot,  is  still  further  brought  to  view.  At  nightfall  he 
returns  in  a  serener  mood,  but  with  the  fateful  poodle. 

Then  follow  the  scenes  which  lead  up  to  the  compact  with  the 
devil.  Mephistopheles,  appearing  as  a  gay  young  squire,  advises 
Faust  to  quit  his  brooding  and  go  out  into  the  world  to  see  what 
life  is.  Faust  repeats  his  litany  of  wretchedness  and  curses  the 
whole  round  of  man's  pursuits  and  ideals.  It  is  here  that  his  '  con- 
fusion' culminates.  Mephistopheles  again  urges  that  he  seek  a 
cure  for  his  malady  by  testing  the  pleasures  of  earth,  and  offers  to 
be  his  companion  or  even  his  servant  in  such  an  experiment. 
Faust  is  desperate.  He  feels  certain  that  the  devil's  lures  cannot 
bring  him  the  peace  he  craves ;  he  is  bored  in  advance  by  the  pro- 
gram suggested  to  him.  Still  he  cannot  go  on  in  the  old  way  —  he 
has  reached  the  very  end  of  his  course.  He  has  meant  well,  but 
his  high  cravings  have  brought  him  only  disappointment  and  pain. 


INTRODUCTION. 

So,  in  a  spirit  of  reckless  desperation  he  closes  with  the  devil's  offer, 
not  as  one  expecting  to  enjoy  the  new  life,  but  as  one  bent  on 
probing  to  the  utmost  all  the  facts  of  man's  miserable  estate. 
Jumping  the  life  to  come,  he  will  at  least  find  out  what  this  life  is 
like  in  all  its  forms  and  phases.  In  consenting  to  be  amused  in 
the  devil's  way  he  merely  stipulates  that  there  shall  be  no  rest,  no 
cessation,  in  the  wild  '  reel '  from  one  experience  to  another.  Ac- 
cordingly the  pair  make  a  solemn  agreement  with  each  other. 
Faust  is  to  have  during  the  remainder  of  his  life  the  prompt  and 
active  service  of  Mephistopheles,  but  in  the  next  world  the  relation 
of  master  and  servant  is  to  be  reversed.  This  last,  however,  only 
on  one  condition :  Faust  must  be  « satisfied  with  himself.'  Only 
when  he  shall  '  stretch  himself  upon  a  bed  of  ease,'  completely 
absorbed  in  the  pleasure  of  the  present  moment,  shall  Mephisto- 
pheles have  the  right  to  claim  him  as  his  own. 

With  respect  to  this  compact,  a  few  comments  will  be  in  order. 
In  the  first  place  there  is  the  obvious  improbability  that  a  sane  man, 
who  really  believed  that  he  possessed  an  immortal  soul,  would  ever 
admit  that  he  was  satisfied  with  any  earthly  pleasure,  if  he  knew 
that  that  admission  would  forthwith  send  him  to  eternal  perdition. 
Goethe  has  attempted  to  deal  with  this  difficulty  formally  by  mak- 
ing Faust  give  his  solemn  assurance  that  he  will  be  honest.  But 
he  has  dealt  with  it  more  vitally  by  giving  us  to  understand  in 
more  ways  than  one  that  the  stake  of  Faust's  soul  in  the  life  to 
come  is  a  somewhat  formal  matter,  a  part  of  the  costume  required 
by  the  legend.  Of  course  we  may  not  say  boldly  that  Faust  does 
not  believe  in  immortality,  but  he  is  at  heart  a  skeptic  for  whom 
the  question  is  at  least  an  open  one.  At  any  rate  it  is  not  the  life 
to  come,  but  this  life,  which  troubles  him,  and  it  is  in  this  world 
that  the  real  interest  centres  both  for  him  and  for  us.  And  indeed 
for  the  devil  also  —  which  is  the  real  reason  why  he  facetiously  says 
to  the  Lord  in  heaven  that  he  does  not  care  for  dead  men.  We 
must  not  think  of  Goethe's  Mephistopheles  as  a  malignant  fiend, 


Ixxii  INTRODUCTION. 

artfully  and  hatefully  leading  his  victim  in  the  way  of  pleasure,  say- 
ing to  him  with  each  experiment,  '  Is  not  this  enough  ? '  and  stand- 
ing ready  with  his  bludgeon  in  case  of  an  affirmative  answer.  He 
is  rather  a  gentleman  of  culture,  *  who  represents  a  certain  view  of 
life,  and  the  question  is  whether  he  will  succeed  in  making  his  view 
acceptable  to  Faust.  If  Mephistopheles  wins,  then  Faust's  ideal- 
ism will  be  quenched  in  some  form  of  pleasure,  and  the  modern 
ethical  interpretation  of  such  an  outcome  will  be :  Eat,  drink,  and 
be  merry,  for  to-morrow  ye  die.  If  Faust  wins,  two  contingencies 
are  conceivable.  Either  he  will  go  on  to  the  end  tugging  at  the 
chains  of  his  human  nature  and  feeling  that  existence  is  a  burden, 
in  which  case  the  conclusion  would  mean  that  man's  life  is  indeed, 
as  the  Buddhists  and  Schopenhauer  conceive  it,  a  thing  of  evil,  and 
that  the  saddest  part  of  it  consists  of  those  lofty  aspirations  that 
whisper  to  men  of  their  superiority  to  the  brutes  that  perish ;  or, 
on  the  other  hand,  his  idealism  will  continue  invincible  to  the  end, 
but  be  '  cleared  up,'  chastened  and  directed  into  channels  that  will 
give  to  life  dignity  and  value.  In  that  event  —  but  the  ethical  phil- 
osophy of  Faust  is  a  large  subject,  the  consideration  of  which 
comes  properly  in  connection  with  the  conclusion  of  the  Second 
Part. 

When  the  compact  is  signed,  Faust,  of  course,  does  not  know 
which  of  these  contingencies  is  to  happen.  He  only  feels  sure  that 
Mephistopheles  will  not  win ;  for,  though  he  talks  of  going  to  wreck 
and  ruin,  that,  as  we  have  seen,  does  not  refer  to  damnation  in- 
curred through  the  devil's  triumph.  Nor,  so  the  fiction  requires  us 
to  assume,  does  Mephistopheles  know  what  is  coming.  Though 
his  defeat  has  been  foretold  on  the  highest  authority,  he  still  counts 
on  victory.  But  if  neither  of  the  parties  to  the  agreement  knows 
how  it  is  to  end,  the  Lord  in  heaven  knows,  and  by  virtue  of  the 
Prologue  we  know  —  at  least  in  a  general  way. 

*  In  his  later  stage,  of  course. 


INTRODUCTION.  Ixxiii 

Thus  bound  together,  the  two  set  out  to  visit  first  the  '  little 
world '  and  then  the  '  great.'  The  little  world  is  the  life  of  com- 
mon men,  the  great  world,  the  Emperor's  court.  They  go  first  to 
Auerbach's  Cellar,  where  Faust  is  bored.  Mephistopheles  per- 
ceives that  his  comrade's  youth  must  be  renewed,  and  takes  him 
accordingly  to  a  witch,  whose  elixir  of  youth  turns  out  to  be  at  the 
same  time  a  love  potion.  Then  comes  the  story  of  Gretchen. 
Faust  (thanks  in  part  to  the  magic)  seems  to  drop  into  his  new 
r61e  all  too  easily,  so  that  we  begin  to  think  that  as  lover  he  is  ap- 
proaching perilously  near  to  Mephisto's  goal.  But  no :  under  all 
the  lover's  raptures  there  is  constantly  felt  —  our  poet  takes  good 
care  of  that  —  the  prick  of  conscience,  and  no  man  can  be  com- 
pletely '  satisfied  '  with  the  things  of  sense  so  long  as  he  is  inwardly 
troubled  by  that  silent  envoy  of  the  supersensual  world,  the  monitor 
that  '  makes  cowards  of  us  all.'  Faust  remains  '  conscious  of  the 
right  way,'  and  when  the  wrong  is  done,  the  ruin  wrought,  and  he 
returns  from  the  orgies  of  the  Brocken  (even  here  his  thoughts  are 
fantastically  haunted  by  the  figure  of  the  wronged  Gretchen),  we 
find  him  to  his  honor  still  capable  of  acutest  suffering.  He  has 
coveted  the  full  experience  of  man's  weal  and  woe,  and  now  there  is 
wrung  from  him  the  line  of  awful  pathos, 

£>er  2JienfdjI)eit  ganjer  3ammer  fafct  mid)  an. 

In  these  words  are  summed  up,  so  far  as  Faust  is  concerned,  the 
whole  import  of  the  Gretchen  tragedy.  He  has  not  yet  been  led 
into  '  clearness,'  on  the  contrary,  his  '  confusion'  seems  to  have  be- 
come more  confounded.  But  the  wagers  are  not  yet  decided,  and 
the  « great  world '  is  still  to  come.  Faust  does  not  end,  and  its 
author  never  dreamed  that  any  sane  being  would  try  to  imagine  it 
as  ending,  in  the  prison-cell  of  the  dead  Gretchen.  To  suppose,  as 
many  have  done,  that  the  Second  Part  was  an  afterthought  is  to 
make  the  most  radical  and  pernicious  mistake  that  can  possibly  be 
made  in  the  interpretation  of  the  poem. 


Ixxiv  INTRODUCTION. 

VI. 
THE   PRINCIPAL   CHARACTERS. 

i .     Faust. 

The  foregoing  pages  have  shown  clearly  enough  that  the  charac- 
ter of  Faust  has  its  root  and  its  development  in  the  personal  expe- 
riences of  Goethe ;  it  owes  to  the  legend  only  the  externals  of  cos- 
tume and  historical  setting.  Of  course,  we  may  not  say  in  any 
literal  sense  that  Faust  is  Goethe  —  the  identity  of  the  poet  with 
his  hero  must  be  understood  in  the  light  of  Goethe's  well-known 
artistic  methods.  He  never  deliberately  depicted  himself,  but  his 
works  were  in  a  very  eminent  degree  personal  '  confessions.1 
Faust  is  only  one  of  several  poetic  creations  which  are,  to  employ  a 
figure  used  by  Goethe  respecting  his  Tasso,  '  bone  of  his  bone  and 
flesh  of  his  flesh  ' ;  the  chief  difference  being  that  Faust  gives  us  the 
poet  in  his  development  from  youth  to  age,  while  Werther,  Tasso, 
Meister,  reflect  particular  phases  of  his  history.  In  all  alike,  how- 
ever, what  we  have  in  the  fictitious  hero  is  not  the  veritable 
Goethe,  but  only  actual  moods  of  his  transfigured  and  potential- 
ized  for  the  purposes  of  his  art.  It  is  by  no  means  to  be  assumed 
that  what  Faust  says  and  does  under  his  circumstances  is  what 
Goethe  would  have  approved  under  like  circumstances,  could  they 
have  been  realized.  What  we  have  is  always  a  poetic  rendition  of 
actualities,  not  a  photograph,  and  still  less  an  allegory  requiring  to 
be  deciphered  in  detail  with  reference  to  particular  incidents  in  the 
poet's  life.  This  is  not  to  be  construed  as  denying  that  the  poem 
may  contain  here  and  there  an  almost  literal  transcript  from  biog- 
raphy. Take,  for  example,  the  incident  of  the  flower  oracle,  the 
lover's  pursuit  and  the  captured  kiss  in  the  summer-house :  this 
certainly  sounds  very  like  a  chapter  from  Goethe's  romance  at 
Sesenheim.  So  there  are  many  passages  in  the  poem  in  which  the 
details  are  such  that  a  well-informed  reader  will  inevitably  think  his 
own  thoughts ;  but  in  few  of  them  is  it  possible  to  prove  anything 


INTRODUCTION.  IxxV 

or  to  separate  the  basis  of  fact  from  the  fabric  of  fancy.  Such 
readings  between  the  lines  are,  when  reasonably  managed,  well 
enough  in  their  way  and  may  now  and  then  throw  an  interesting 
side  light  upon  particular  scenes.  In  general,  however,  it  is  not 
biographical  details  of  any  kind,  but  the  broad  features  of  Goethe's 
inner  history  that  we  must  expect  to  find  reflected  in  Faust.  What 
this  saying  means  has  been  so  fully  brought  to  view  in  the  forego- 
ing discussion  that  nothing  further  on  the  subject  is  necessary. 

2 .     Mephislopheles . 

In  this  most  unique  and  powerful  of  Goethe's  creations,  just  as 
in  the  case  of  Faust,  we  have  to  do  with  an  evolution.  He  meets 
us  first  as  a  wag  and  a  rake's  friend.  But  for  his  name  and  an  al- 
lusion to  magic  horses,  the  « Urfaust '  conveys  no  suggestion  that 
Mephistopheles  is  a  supernatural  being.  The  '  devil '  in  him  is  the 
devil  of  sensual  promptings,  and  his  relation  to  Faust  is  that  of  a 
tormentor  in  the  guise  of  an  obedient  servant.  Later,  Goethe  in- 
vests him  with  all  sorts  of  legendary  trappings  derived  rather  from 
the  devil-myth  in  general  than  from  the  Faust-legend  in  particular. 
This  devil-myth  is,  as  is  well  known,  a  highly  composite  affair. 
The  Jewish  'adversary'  and  prince  of  demons,  Satan,  the  Persian 
god  of  darkness,  Angra-Mainyus  (Ahriman,  Arimanes),  the  ser- 
pent-story of  Genesis,  the  monstrous  imaginings  of  the  apocalyptic 
writers  of  the  Old  and  New  Testaments,  theological  speculations 
about  Titan-angels  at  war  with  God,  attributes  of  Greek,  Roman, 
and  Germanic  divinities,  —  these  are  some  of  the  sources  from 
which  « the  devil '  of  medieval  Christian  demonology  had  been 
elaborated  by  popular  and  learned  superstition.*  From  such  tra- 
ditionary sources  Goethe  draws  at  will,  adding  conceptions  of  his 
own  as  suits  his  purpose.  As  an  adversary  of  divine  power, 
Mephistopheles  is  a  spirit  of  negation :  God  affirms  and  creates, 

*  Cf.  Roskoff,  Geschuhte  ties  Teufels,  I.,  186  ff. 


INTRODUCTION. 

the  devil  denies  and  destroys.  He  is  therefore  the  natural  lord 
and  patron  of  destructive  agencies,  great  and  small.  Fire,  as  the 
enemy  of  life,  is  his  natural  element.  Against  the  divine  regime 
'  let  there  be  light,1  he  is  a  prince  of  darkness  and  a  champion  of 
primeval  chaos.  He  has  the  lameness  of  Hephaestus,  the  hoof  of 
Pan,  and  the  two  ravens  of  Odin.  In  accordance  with  the  familiar 
popular  conception  he  is  a  lover  of  witches. 

Passing  from  these  externals,  which  are  legendary,  to  the  intellect, 
which  is  modern,  we  find  the  essence  of  his  character  to  consist  in 
his  cynical  hostility  to  all  idealism.  '  Man  in  his  high  endeavor,' 
is  for  him  a  laughing-stock.  Moral  scruples,  sympathy,  supersen- 
sual  love  of  woman  or  of  nature,  are  the  ridiculous  antics  of  the 
human  grasshopper  that  would  fain  fly  but  cannot.  At  first  his 
cynicism  is  bitter  earnest ;  he  meets  Faust's  pathos  of  high  feeling 
with  a  pathos  of  contempt  for  high  feeling.  In  the  later  scenes,  as 
throughout  the.  Second  Part,  he  is  a  more  genial  devil,  and  his 
cynicism  takes  the  form  of  clever  satire. 

Concerning  his  indebtedness  to  actual  personages  much  has  been 
conjectured  and  but  little  proved.  We  have  seen  reasons  for  think- 
ing that  the  initial  conception  owed  somewhat  to  Goethe's  Leipzig 
friend  Behrisch.  From  Dichtungund  Wahrheit  one  would  infer  that 
the  living  model  of  Mephistopheles  was,  if  anyone,  J.  H.  Merck, 
with  whom  Goethe  became  intimate  directly  after  his  return  from 
Strassburg.  Merck  was  a  man  of  extensive  knowledge,  fine  critical 
perception,  easy,  self-assured  social  bearing,  and  altogether  solid 
character.  Goethe  describes  him  as  tall  and  gaunt  (so  was  Beh- 
risch likewise),  and  as  having  a  prominent  pointed  nose  and  eyes 
that  continually  peered  here  and  there,  giving  to  him  a  certain 
'  tigerish  '  expression.  He  further  imputes  to  him  a  propensity  for 
biting  satire  and  a  capricious  habit  of  treading  on  people's  toes  re- 
gardless of  the  hurt.  This  personage  Goethe  expressly  credits 
with  having  exerted  a  '  very  great  influence  '  upon  his  own  life,  and 
he  refers  to  him  repeatedly  as  Mephistopheles  Merck.  But  it  is  a 


INTRODUCTION.  Ixxvii 

question  whether  these  Mephistophelean  traits  of  Merck  are  not 
largely  a  matter  of  fanciful  retrospect.  Goethe,  to  be  sure,  is  not 
the  only  one  who  ascribes  horns  and  claws  to  this  youthful  friend  of 
his,  but  Merck's  letters  and  extant  critical  writings,  and  the  total 
impression  of  his  character  derived  from  contemporary  sources, 
offer  little  suggestion  of  the  peculiar  diabolism  that  shows  itself  in 
Mephistopheles.* 

And  the  same  thing  is  to  be  said  of  Herder,  whom  Herman 
Grimm  regards  as  the  living  prototype  of  Mephistopheles. f 
Grimm's  theory  is  that  Herder  became  for  Goethe  at  Strassburg  the 
starting-point  for  the  poetic  conception  of  an  -overweening,  remorse- 
less, destructive  critic,  a  critic  that  knows  it  all,  sees  through  you 
and  over  you,  and  delights  in  showing  up  the  vanity  of  your  enthu- 
siasms. Grimm  supposes,  then,  that  this  conception  was  borne  in 
mind  by  Goethe  until  Merck  came  to  give  it  individuality  and 
speech.  To  this  theory  as  guardedly  set  forth  by  its  author,  one 
cannot  deny  a  measure  of  plausibility,  only  we  must  not  look  for 
anything  of  the  actual  Herder  in  Goethe's  devil.  Herder  was  no 
cynical  enemy  of  idealism,  but  himself  one  of  the  towering  idealists 
of  his  century.  If  he  ridiculed  Goethe's  enthusiasms  it  was  not  in 
a  spirit  of  contempt  for  enthusiasm  per  se,  but  out  of  devotion  to 
what  he  thought  a  better  enthusiasm  of  his  own.  Another  point 
deserves  to  be  noted  with  regard  to  Grimm's  hypothesis.  The  only 
Mephistopheles  that  we  can  even  imagine  to  have  been  much  in- 
fluenced by  Herder  is,  of  course,  that  of  the  early  pre-Weimarian 
scenes.  But  the  Gochhausen  Faust,  not  known  when  Grimm 
wrote,  shows  us  that  this  Mephistopheles  was  by  no  means  an  in- 
carnation of  omniscient,  overweening  critical  intellect.  He  is  a 
kind  of  devil  of  whom  there  was  no  spark  in  Herder,  and  who  did 
not  need  to  be  suggested  by  a  Herder,  the  species  being  only  too 
common  among  the  sons  of  Adam.  Finally,  it  is  highly  probable 

*  Cf.  Loeper  in  the  Hempel  edition  of  Goethe's  works,  XXII.,  292  fif. 
t   Vorlesungen  uber  Goethe,  2516  Vorlesung. 


Ixxviii  INTRODUCTION. 

that  the  initial  conception  of  Mephistopheles  had   already  taken 
root  in  Goethe's  mind  before  he  knew  Herder  at  all. 

The  truth  is  that  Goethe's  famous  creation  owes  very  little,  and 
nothing  that  is  clearly  definable,  to  any  actual  personage.  Mephis- 
topheles is  simply  the  natural,  and  in  view  of  Goethe's  poetic 
methods,  necessary  pendant  to  Faust.  The  pair  are  in  their  way 
but  another  instance  of  that  dualism  of  poetic  conception  which 
meets  us  elsewhere  as  Gotz  and  Weislingen,  Clavigo  and  Carlos, 
Orestes  and  Pylades,  Tasso  and  Antonio.  Over  against  the 
extreme  of  titanic  idealism  seen  in  Faust,  the  poet  sets  an  extreme 
of  earthly  sensualism  in  Mephistopheles.  The  devil  of  any  age  or 
people  is  the  enemy  of  what  that  age  or  people  regards  as  supremely 
good.  So  in  a  time  of  emotional  expansion  like  the  storm  and 
stress  era,  when  «  feeling  is  everything '  and  supernal  unrest  the  ac- 
cepted sign  of  the  soul's  nobility,  the  devil  is  naturally  a  person 
who  throws  cold  water  upon  all  high  sentiment.  Our  poet  needed 
no  models,  and  no  suggestion  beyond  what  was  furnished  by  his 
widening  acquaintance  with  life,  and  his  observation  of  the  inner 
contrasts  of  his  own  being.  The  habit  of  critical  self-inspection 
early  became  a  part  of  his  nature.  It  was  as  if  he  were  accom- 
panied by  an  inward  Mephistopheles,  that  now  confronted  his 
flight  of  feeling  with  cold  common  sense,  now  whispered  of  the 
base  while  he  dreamed  of  the  noble,  and  again  turned  his  pathos  of 
emotion  into  ridicule.  All  men  carry  their  devil  with  them  and 
Goethe  was  no  exception.  He  once  said  to  Eckermann  that  there 
was  no  crime  but  envy,  of  which  he  could  not  imagine  himself  to  be 
guilty.  Bearing  this  in  mind  and  remembering  also  Goethe's  way 
of  potentializing  his  own  moods  in  his  fictitious  heroes,  his  way  of 
raising  these  moods,  so  to  speak,  to  a  higher  power,  and  carrying 
out  their  consequences  to  a  logical  end,  —  remembering  this  we 
have,  broadly  speaking,  all  that  is  needed  to  explain  the  character 
of  Mephistopheles  both  in  its  inception  and  in  its  development. 


INTRODUCTION.  Ixxix 

3 .     Wagner. 

The  legend,  as  we  saw,  gives  to  Faust  a  famulus  in  the  person  of 
an  '  insolent  lubber '  called  Christoph  Wagner,  who  is  in  his  mas- 
ter's secret  and  becomes  his  heir.  This  Wagner  also  regularly  ap- 
pears in  the  puppet-plays,  having  there  a  somewhat  colorless  and 
unimportant  r61e.  Goethe  makes  use  of  him  fora  contrast  to  Faust 
of  a  different  kind  from  that  offered  by  the  Earth-Spirit  or  Mephis- 
topheles,  that,  namely  of  a  practical,  self-satisfied  book-worm.  The 
young  Goethe,  who  slighted  his  lectures  at  Leipzig  and  Strassburg, 
was,  of  course,  acquainted  with  fellow-students  who  attended 
steadily  to  their  work  and  were  not  given  to  repining  over  the  in- 
adequacy of  the  official  academic  fountain  for  quenching  the  diviner 
thirsts  of  human  nature.  In  sombre  moods  the  species  no  doubt 
exasperated  him,  and  so  when  he  came  to  depict  it  in  Faust,  he 
threw  a  touch  of  satire  into  the  portrait,  and  made  qualities  appear 
despicable  that  are  not  so  very  despicable  after  all.  For  it  is  a  mis- 
take to  regard  Wagner  as  a  type  of  the  paltry  pedant.  There  is 
nothing  of  the  pedant  about  him.  He  makes  no  offensive  parade  of 
lean  and  wasteful  learning,  nor  is  there  anything  in  him  to  suggest 
that  he  cares  only  for  the  letter  and  not  for  the  spirit.  He  is  a 
zealous  student,  a  little  tactless  and  importunate,  a  little  naif  in.  his 
ambition  to  know  everything,  but  otherwise  quite  worthy  of  respect. 
He  knows  what  he  wants  and  his  wishes  are  creditable  to  his  head 
and  heart.  Faust,  in  his  irritation,  calls  him  the  '  poorest  of  the 
sons  of  men,'  but  humanly  speaking,  Wagner  is  a  promising 
youth  who  will  make  his  mark  in  the  world,  in  fact,  does  make  it. 
He  is  quite  right  to  care  for  the  things  that  pertain  to  his  future 
vocation  and  Faust's  bitter  rhetoric  does  him  injustice.  Wagner  is 
not  digging  after  mysterious,  unnamable  treasures,  but  after  bait  to 
catch  fish ;  he  has  a  right,  therefore,  to  be  pleased  when  he  turns 
up  an  angleworm.  The  point  of  these  remarks  is  to  caution  against 
the  common  error  of  reading  the  Wagner  scenes  as  if  Faust  were  an 
oracle  of  absolute  wisdom,  and  Wagner  a  ridiculous  shallow-pate. 


1XXX  INTRODUCTION. 

It  is  Faust  who  is  in  the  wrong,  and  his  '  clearing  up '  will  bring 
him,  not  further  from  but  nearer  to,  the  humble,  practical,  human 
idealism  of  his  famulus. 

4.      Gretchen. 

The  later  Faust-books,  as  was  noted  above  on  page  xvii.,  contain 
an  account  of  Faust's  falling  in  love  with  a  servant-girl.  Whether 
this  story  is  really,  as  Scherer  supposed,*  the  » germ '  of  Goethe's 
Gretchen  is  at  least  doubtful ;  Kuno  Fischer  f  thinks  the  hypothesis 
unnecessary  and  even  absurd.  Of  one  thing  at  any  rate  we  may  be 
sure,  and  that  is  that  nothing  more  than  the  merest  hint  can  have 
been  obtained  by  Goethe  from  this  source ;  forthe  story  is  told  in  two 
sentences  in  the  Christlich  Meynenden  Faust-book,  and  has  no  resem- 
blance whatever  to  the  love-tragedy  in  Faust.  This  last  cannot  be 
said,  however,  of  a  certain  other  narrative  which  has  lately  been  put 
forward  not  only  as  the  probable  '  original '  of  the  Gretchen  story  but 
also  as  evidence  that  the  Faust-book  used  by  Goethe  was  that  of 
Pfitzer.J  In  a  long  note  to  his  second  chapter,  by  way  of  parallel 
to  Faust's  youthful  profligacy,  Pfitzer  tells  a  story,  not  found  in 
Widman,  of  a  young  student  Apion,  who  falls  in  love  with  a  girl 
named  Amee,  wins  her  favor  by  means  of  presents  and  then  dis- 
honors her.  The  mother,  trusting  her  daughter  and  busy  with  her 
house- work,  knows  nothing  of  the  relation.  The  maid  Caride 
knows,  however,  and  threatens  to  betray  Amee,  but  is  quieted  by 
Apion's  silver.  In  her  shame,  Amee  is  deserted  by  her  betrayer 
and  in  due  time  gives  birth  to  a  daughter,  who  is  put  to  death  by 
Caride,  with  the  young  mother's  consent.  After  two  years  the 
crime  is  discovered  and  both  Amee  and  Caride  are  beheaded,  while 
the  mother  is  banished  for  not  taking  better  care  of  her  daughter. 

The  similarity  of  this  story  to  that  of  Gretchen  is  so  striking  as 
to  suggest  more  than  a  possibility  that  Goethe  may  have  read  it. 

*  Faust-Buck,  p.  xxviii. 
t  Goethe1 's  Faust,  p.  150. 
t  Goethe- Jahr buck,  VII.,  278.  On  the  Pfitzer  book,  see  above,  p.  xvii. 


INTRODUCTION.  Ixxxi 

Still,  there  are  certain  facts  that  should  not  be  ignored.  First,  the 
story  is  not  told  of  Faust  at  all.  Secondly,  the  main  elements  of 
the  recital  are  not  so  unheard  of  in  life  or  in  literature  as  to  compel 
the  supposition  that  Goethe  needed  this  particular  tale  to  set  his 
imagination  at  work.  Finally,  as  we  have  seen,  Gretchen  is  only 
one  of  a  group  of  similar  portraits  painted  by  Goethe  in  his  youth. 
His  mind  was  long  haunted  by  the  vision  of  an  artless,  naive  girl 
with  a  superior  worldling  for  a  lover.  Any  theory  that  attempts  to 
account  for  the  origin  of  the  conception  of  Gretchen  must  also  ac- 
count for  the  Marie  of  Gotz  -von  Berlichingen  and  the  Clarchen  of 
Egmont. 

In  any  case,  therefore,  we  cannot  suppose  that  Goethe's  creation 
owes  more  than  a  bare  suggestion  to  his  reading  in  Faust-lore. 
Nor  does  it  owe  very  much  that  is  definable  to  any  maidens  of 
flesh  and  blood.  Some  have  thought,  and  even  argued  vehemently, 
that  the  portrait  of  Gretchen  is  based  upon  reminiscences  of  the 
Frankfurt  Gretchen  described  so  vividly  in  the  fifth  book  of 
Dichtung  und  Wahrheit.*  But  this  is  not  very  probable.  Even 
supposing  this  early  love  to  have  been  as  fervid  as  would  appear 
from  Dichtung  und  Wahrheit,  the  episode  was  ancient  history  at 
the  time  when  the  Gretchen  scenes  in  Faust  were  written.  Ten 
years  had  passed  with  their  kaleidoscopic  succession  of  sweethearts, 
and  the  young  Goethe  was  preeminently  a  poet  who  wrought  from 
the  issues  of  the  living  present.  It  is  more  likely  that  the  Frank- 
furt Gretchen  was  copied  from  her  namesake  in  Faust. 

With  better  reason  we  may  assign  to  Friederike  Brion  the  chief 
influence,  among  actual  maidens,  in  shaping  the  conception  of 
Gretchen.  The  reasons  for  this  opinion  have  already  been  given. 

In  these  pages  we  have  called  Goethe's  heroine  uniformly  by  the 
name  of  Gretchen,  but  he  himself  calls  her  also  by  the  name  of 
Margarete.  As  a  rule  the  name  Gretchen  is  used  where  she  appears 

*  E.  g.,  Schroer;  cf.  the  Introduction  to  his  edition  of  Faust,  p.  xl.  ff. 


Ixxxii  INTRODUCTION. 

alone,  as  in  the  scenes,  « Gretchen's  Room,1  « Zwinger,'  « Cathe- 
dral.' In  the  dialogue  scenes,  excepting  '  At  the  Well,'  she  is 
introduced  by  the  poet  as  «  Margarete,'  though  the  characters  speak 
of  her  as  '  Gretchen,'  «  Gretel,'  '  Gretelchen,'  and  '  Margretlein.' 
Reasoning  on  this  fact,  before  the  discovery  of  the  Gochhausen 
manuscript,  Schroer  was  led  to  imagine  a  later  origin  for  the 
«  Gretchen '  scenes,  as  if  the  image  of  his  heroine  in  certain  pathetic 
situations  had  lingered  on  in  the  poet's  mind  after  he  had  composed 
the  dramatic  dialogue.  But  the  '  Urfaust '  hardly  supports  this 
view.  In  general  it  uses  the  names  as  they  are  used  in  the  final 
version,  but  with  the  important  exception  that  in  the  catechism 
scene  we  have  '  Margrete '  in  the  heading,  then  '  Gretgen '  twice 
in  the  text  following,  then  a  single  '  Margrete,'  and  the  rest  of  the 
way  only  «  Gretgen.'  That  is,  the  names  are  used  fortuitously  in 
the  same  scene. 


1  it  e   Xragobtc. 


3  u  e  i  g  it  u  n  g. 


nafyt  eucfy  toieber,  fcfytoanfenbe  ©eftalten, 
friify  ftcfy  einft  bent  triiben  Site!  gejeigt. 

'  icf>  toofyl  eudfy  biefcmal  feft  ju  fyalten? 
giiljr  id)  mein  §erj  nod)  jenem  UBafyn  genetgt? 
3$r  brangt  eud)  ju  !  nun  gut,  fo  mogt  i^r  toalten, 
2Bie  tt>r  aui  2)un(t  unb  5Ke6eI  um  mid^  fteigt  ; 
3Jiein  Sufen  fii^It  fic^  jugenbltcfy  erfd^iittert 
SSom  3^6^011^,  ber  eitren  3"g  umtoittert. 


bringt  mit  eud^  bie  Stlber  fro^er 
Unb  mand^e  Itebe  ©fatten  fteigen  auf  ; 
einer  alien  fyalbtoerflungnen  ©age 
erfte  Sieb'  unb  ^reunbf^aft  mit  fyerauf  ; 
SDer  ©d^merj  h)irb  neu,  e§  ioieber^olt  bie  ^lage 
S)e§  2eben§  Iab^rintf)ifc^  irren  2auf, 
Unb  nennt  bie  ©uten,  bie,  um  fcfyone  ©tunben 
SSom  ©liicf  getaufd^t,  bor  mir  I?inh)eggefc^tt)unben. 

<Sie  I>6ren  nid^t  bie  folgenben  ©efdnge, 
©ie  6eelen,  benen  ic&  bie  erften  fang  ; 
3erftoben  ift  bag  freunblicfye  ©ebrdnge, 
3Ser!Iungen  ad^  !  ber  erfte  2BiberfIang. 
3Jlein  Seib  ertont  ber  unbefannten  SRenge, 
^F>r  SeifaH  felbft  macfjt  meinem  Bergen  bang, 
Unb  toa§  fid^  fonft  an  meinem  Sieb  erfreuet, 
SSenn  e§  noc^  lebt,  trrt  in  ber  SBelt  jerftreuet. 

(3) 


Unb  mid;)  ergreift  ein  langft  enttoofynteS  ©efynen  25 

•ftad)  jenem  ftillen  ernften  ©eifterreid;, 

@^  fcfytoebet  nun  in  unbeftimmten  Xonen 

SRein  Itf^elnb  Sieb,  ber  3lDl§f)arfe  gleid),, 

@in  ©Baiter  fa^t  tnid^,  Stfyrane  folgt  ben  2:f>ranen, 

ftrenge  §erj  e§  fii^It  fi<^  milb  unb  toeid^ ;  30 

\<fy  beft^e  fet)'  ic^  hne  im  SSetten, 
Unb  h)a§  toerfcfytoanb  toirb  mir  ju  SSirflid^feiten. 


auf    bem    Sweater. 


Director,  £6,  eaterbtd)  ter,  Suftige  ^erfon. 

Director. 

$b,r  beiben,  bie  ifyr  mir  fo  oft, 

$n  9?otl)  unb  Striibfal,  beigeftanben, 
35  ©agt  it>a§  ifyr  n>ob,l  in  beutfd)en  Sanben 

SSon  unfrer  Unternef)tnung  ^offt  ? 

3<^  toiinfcfyte  fe^r  ber  3)lenge  511  befyagen, 

SBefonber§  toeil  fie  lebt  unb  Icben  Ictfjt. 

5Die  ^Bfoften  finb,  bie  Sreter  aufgefd&Iagen, 
40  Unb  jebermann  ertoartet  fid^  ein  $eft. 

©ie  fi^en  frf)on  mit  fyofyen  2lugenbraunen 

©elaffen  ba  unb  molten  gern  erftaunen. 

%<$  n)ei|  tme  man  ben  ©eift  be^'SSoIfg  berfofynt; 

2)od^  fo  berlegen  bin  id)  nie  getoefen  ; 
45  $\VCLI  finb  fie  an  bag  Sefte  nid)t  getco^nt, 

2lHein  fie  fyaben  fd)retfUd^  biel  gelefen. 

SBie  madden  iuir'S,  ba^  atte§  frifd;  unb  neu 

Unb  mit  Sebeutung  aud)  gefcittig  fei  ? 

2)enn  freilid;  mag  id;  gern  bie  5Renge  fe^en, 
50  2Senn  fid)  ber  (Strom  nad)  unfrer  S3ube  brdngt, 

Unb  mit  getoaltig  tuieberfjolten  2Beb,en 

©id;  burd;  bie  enge  ©nabenpforte  jtodngt, 

S3ei  ^ettem  Stage,  fd)on  bor  SSieren, 

5Dtit  ©to^en  fid;  big  an  bie  Gaffe  fid;t 

(s) 


Unb,  tm'e  in  £>unger§notl;  um  Srot  an  Sacfertfyiiren,       55 
Urn  ein  33ittet  fief)  faft  bie  §alfe  bridrt. 
SDiejs  2Bunber  toirft  auf  fo  t>erfd;iebne  Seute 
£)er  2)id;ter  nur  ;  mein  $reunb,  o  !  tfyu'  es>  fyeute  ! 

Sifter. 

D  fprid;  mir  nid;t  bon  jener  bunten  -Jftenge, 

Set  beren  2ln6Iicf  ung  ber  ©eift  entflie^t.  60 

SSer^iitte  mir  ba3  toogenbe  ©ebrdnge, 

toiber  2Bitten  un§  gum  ©trubel  giefyt. 
fii^re  micf)  jur  ftitten  §immel§enge, 
2Bo  nur  bem  SDicfyter  reine  ^reube  blii^t  ; 
2Bo  2ieb'  unb  ^reunbfd^aft  unfreg  £>er§en§  ©egen          65 

©otterf>anb  erfcfyaffen  unb  er))f(egen. 


2ld;  !  n>a§  in  tiefer  Sruft  un§  ba  entfyrungen, 
c^  bie  2type  fd;uc^)tern  borgelaKt, 
i)en  je^t  unb  je|t  t>ieffeid;t  gelungen, 
$Berfd;Iingt  be§  ioilben  2(ugen6licf§  ©etoalt.  70 

Dft  toenn  e§  er(t  burd)  l^afyre  burd;gebrungen 
@rfd;eint  e§  in  bottenbeter  ©eftalt. 

glanjt  ift  fur  ben  2lugen6ltcl  geboren  ; 
@d;te  bleibt  ber  3^arf>n)elt  unberloren. 


Suftige  ^erfon. 

2Benn  id;  nur  nid;t§  toon  9^ad;n)elt  ^oren  fottte;  75 

©efe^t  ba^  id;  toon  ^iadjtoelt  reben  looffte, 

2Ber  mad;te  benn  ber  5Ritn)eIt  ©^a^  ? 

S)en  toitt  fie  bod;  unb  foil  ifyn  i>aben. 

2)ie  ©egentoart  toon  einem  braben  ^naben 

^ft,  bad;t'  id;,  immer  aud;  fd;on  toa§.  80 


SSorjpiet  cmf  bent  Sweater. 

3Ser  fidtj  befyaglicb  mitjutbetlen  toeijj, 
£)en  imrb  be£  23olfe§  Saune  nid)t  erbittern  ; 
@r  tttiinfcfyt  ficb,  etnen  grofjen  £rei£, 
Um  ib,n  getoiffer  gu  erfcfiitttern. 
85         3)rum  feib  nur  brab  uub  jeigt  eiid?  mufterl^aft, 
2afet  ^Bb,antafie,  mit  alien  ifyren  S^oren, 
SSernunft,  SSerftanb,  ©mpfinbung,  Seibenfc^aft, 
IDoc^,  merit  eud^»  toofy  I  !  nid^t  o{>ne  ^arr^eit  fyoren. 

director. 

S3efonber§  aber  la^t  genug  gefcb,  efyn  ! 
90        2Ran  fommt  ju  fdgaun,  man  luitt  am  Itebften  fefyn. 

2Btrb  »tele§  t>or  ben  2Iugen  abgefponnen, 

(So  bafe  bte  ;IRenge  ftaunenb  gaff  en  !ann, 

2)a  F>abt  if>r  in  ber  S3rette  gleid)  getoonnen, 

^^r  feib  ein  m'elgeliebter  9Jiann. 
95         35ie  3J?affe  fbnnt  i^r  nur  burd?  SRaffe  jtoingen, 

(gin  jeber  furfjt  ficf>  enblid^)  felbft  toa§  au§. 

SBer  biele»  bringt,  toirb  mancfyem  etn)a§  bringen; 

Unb  jeber  gefyt  jufrieben  au§  bent  §au§. 

©ebt  ib,r  ein  ©tiicf,  fo  gebt  e8  gleirf)  in  (StM  en  ! 
ioo       ©defy  ein  Stagout  e§  mu^  euc^  gliicfen; 

ift  e§  borgelegt,  fo  leic^t  at§  au§gebad^t. 
b,  ilft'^,  toenn  ib,r  ein  ©anje§  bargebrac^t, 
^Bublicum  icirb  e§  euc^  boc^  gerpflucfen. 


2)  i  4)  t  e  r. 

^b,r  fii^Iet  nid^t,  Ime  fd^lec^t  ein  fold^e§  ^anbtcerf  feU 
105       2Bie  toenig  ba§  bem  ecb,  ten  ^iinftler  jieme  ! 
£>er  faubern  §erren  ^Pfufcberei 
£jft,  merf  ic^,  fd;on  bei  eudj 


gostfL 

Director. 

©in  folder  SSortourf  laftt  mid)  ungelranft  : 

©in  SJtann,  ber  red;t  ju  tmr!en  benft, 

iHtufc  auf  ba§  befte  2Berf§eug  b,  alien.  no 

23ebenft,  ifyr  fyabet  tbeid)e3  £oij  ju  flatten, 

Unb  f  eb,  t  nur  fyin  fiir  toen  ii)r  fd^reibt  ! 

2Benn  btefen  Sangeioeile  treibt, 

^ommt  jener  fait  bom  iibertifcfyten  SRa^Ie, 

Unb,  toaS  ba§  atter[cf)Itmmfte  bleibt,  115 

©ar  manner  fommt  bom  Sefen  ber  ^ournale. 

3Jlan  eilt  jerftreut  gu  uu§,  tuie  511  ben  2fta§fenfeften, 

Unb  'Jieugier  nur  beflitgelt  jeben  ©d^rtit  ; 

S)ie  2)  amen  geben  fid;  unb  \fyun  $u^  gum  SBeften 

Unb  fptelen  o^ne  ©age  mit.  120 

2Ba§  traumet  ifyr  auf  eurer  ®id}ters§o^e  ? 

2Ba§  mac^t  ein  boffe§  §au§  eitcfy  frob,  ? 

Sefe^t  bte  ©b'nner  in  ber  3^at)e  ! 

§alb  finb  fie  fait,  b,alb  finb  fie  rob,. 

SDer,  nad;  bem  @d}aufbiel,  ^offt  ein  ^artenfbiel,  125 

S)er  eine  ioilbe  9^ad;t  an  einer  2)irne  33ufen. 

2Bal  blagt  ib,r  armen  ^b,oren  biel, 

3u  foldEjem  ^S^6^/  ^e  b.olben  3Jiufen? 

^d;  fag'  eud;,  gebt  nur  mefyr,  unb  immer,  immer  mefyr, 

<3o  lonnt  ib,r  eud;  bom  $iele  nie  berirren,  130 

<Sud)t  nur  bie  2Renfd;en  ju  bertoirren, 

@ie  ju  befriebigen  ift  fd;iber  — 

fa'Ut  eud;  an?  ©ntjiidung  ober  @d;merjen? 


2)id;ter. 

©eb,  b,in  unb  fud;'  bir  einen  anbern  $ned;t! 

3)er  2>id;ter  folite  tuob,!  bag  b,6d;fte  ^Red^t,  135 


SSorfpiel  auf  bem  Beater. 

SERenfcfyenrecfjt,  ba§  ifym  9tatur  fcergonnt, 

Um  beinetioillen  fretoentlicfr,  berf<f>er§en  ! 

SBoburd;  betoegt  er  afle  £>erjen? 

2Boburcfy  befiegt  er  jebe§  ©lement? 
140  3ft  e§  ber  ©inflang  nicfyt,  ber  au§  bem  Sufen  bringt, 

llnb  in  fein  §erj  bie  2BeIt  juriidfe  fd^Iingt? 

2Benn  bie  -ftatur  beg  ^yaben§  elD'ge  2ange, 

©leid^giiltig  bre^enb,  auf  bie  (Spinbel  gtoingt, 

SBenn  atter  SBefen  unfyarmon'fcfye  3Jienge 
145  SSerbrie^Iid^  burd)  einanber  flingt  ; 

2Ber  tfjeilt  bie  fliejjenb  immer  gleid^e  3tei^e 

Selebenb  ab,  bafe  fie  fid^  rfytytfymifcfy  regt? 

2Ber  ruft  ba§  ©inline  jur  affgemeinen  SSei^e, 

SSo  e§  in  berrlicf>en  Slccorben  fd^Iagt? 
150  2Ber  Ia§t  ben  ©turm  gu  2eibenfd^iaften  h)iltf)en? 

2)a§  2lbenbroti>  im  ernften  ©inne 

2Ber  fd^iittet  alte  fd^onen 

2luf  ber  ©eltebten  ^fabe 

2Ber  fli4»t  bie  unbebeutenb  griinen  flatter 
I55  3um  @^renfran§  SSerbienften  jeber  2lrt? 

SBer  fid^ert  ben  Dltymp,  bereinet  ©otter? 
Shaft  im  2)ic^ter  offenbart. 


Suftige  ^erfo 

<5o  braud^t  fte  benn  bie  fcfyonen 

Unb  treibt  bie  bicfytrifcfyen  ©efc^afte, 

160  SOBie  man  ein  Siebe^abenteuer  treibt. 

3ufdttig  nafyt  man  ftc^,  man  fu^It,  man  bleibt 
Unb  nacij  unb  nacb,  toirb  man  berflod^ten; 
6§  toa'cfyf't  ba§  ©liidt,  bann  iwirb  e§  angefoa^ten, 
3Kan  ift  entjiidt,  nun  lommt  ber  ©c^merj  ^eran, 


10 


Unb  eb/  man  fid/§  toerfiel;:,  ift'§  eben  ein  Sloman.         165 

Sajjt  un§  aud;  fo  eiit  <Sd;aufbiel  geben  ! 

©reift  nur  fyinein  in'§>  botte  2Kenfd;enleben  ! 

@in  jeber  lebt'S,  nidjt  bielen  ift'3  befannt, 

Unb  too  ib,r'§  ^acft,  ba  ift'8  intereffant. 

^n  bunten  33ilbern  loentg  ^tar^eit,  170 

SSiel  ^rrt^um  unb  ein  gamfcfyen  SBa^r^ett, 

(So  toirb  ber  befte  £ranf  gebraut, 

2)er  atte  2BeIt  erquicft  unb  auferbaut. 

2)ann  fammelt  fid)  ber  ^ugenb  fd)5nfte  Sliit^e 

SSor  eurem  ©ptel  unb  laufdjt  ber  Dffenbarung,  175 

35ann  fauget  jebeg  jartlid;e  ©emiit^e 

2lit§  eurem  2Ber!  fid;  meland}ol'fd;e  ;ftab,rimg, 

2)ann  ictrb  balb  bte§  balb  jene§  aufgeregt, 

©in  jeber  fiefyt  ioa§  er  im  Bergen  tragt. 

%to<fy  finb  fie  gleid;  bereit  gu  toeinen  unb  gu  Iad;en,         180 

(Sie  e^ren  nod}  ben  @d;h)ung,  erfreuen  fid;  am  <Sd?ein  ; 

2Ber  fertig  ift,  bent  ift  nid;t§  redit  ju  madjen  ; 

@in  2Berbenber  h)irb  immer  banfbar  fein. 


@o  gib  mir  aud;  bie  ^^iten  hneber, 

35a  id;  nod;  felbft  im  SBerben  toar,  185 

2)a  fid;  ein  Duett  gebrangter  Sieber 

Ununterbrod;en  neu  gebar, 

mir  bie  SBelt  ber^uttten, 
2Bunber  nod;  berfbrad;, 
25  a  id;  bie  taufenb  33Iumen  brad;,  190 

£>ie  aHe  SC^ciler  reid;Iid;  fiittten. 
^jd;  ^atte  nid;t^  unb  bod;  gcnug, 
S)en  2)rang  nad;  SiBafyrfyeit  unb  bie  Suft  am  !£rug. 


SSorfpiet  auf  bent  Sweater.  11 

(Sib  ungebdnbigt  jene  £riebe, 
195  £>a§  tiefe  fd^merjentooUe  ©liicf, 

S)e§  £affe§  flraft,  bie  3ttad&t  ber  Siebe, 
®ib  meine  3>ugenb  mir  juriitf ! 

2  u  ft  i  g  e  $J3  e  r  f  o  n. 

2)er  Su9en^/  Suter  ^reunb,  bebarfft  bu 
2Benn  bid^  in  6d^ta4)ten  geinbe  brdngen, 
200  SSenn  mit  ©etoalt  an  beinen  ^al§ 

<Std^  atterliebfte  3Jidbd^en  ^angen, 
3Benn  fern  beS  fd^neffen  SaufeS  ^ranj 
SSom  fcfytoer  erreid^ten  3iele  luinfet, 
SBenn  nacfy  bem  ^eft'gen  SBtrbeltanj 
205  S)ie  9^dd§te  fd^maufenb  man  bertrinfet. 

befannte  ©aitenf^iel 
unb  Slnmut^  einjugreifen, 
einem  felbftgeftedvten 
9Jiit  ^olbem  ^rren 
3)a§,  alte  ^erm,  tft  cure  ^pflid^t, 
Unb  toir  bere^ren  euc^  barum  nid^t  minber 

2llter  mafyt  nid^t  !inbtfc§,  h)ie  man 
ftnbet  un§  nur  nod^  al§  toafyre  Minber. 

director. 

2Borte  fmb  genug  gen>ec^fclt, 
215  2a^t  mi$  auc&  enbltd?  X^aten  fe^n ; 

^nbe^  ii>r  Gompltmente  bred^felt, 
$ann  eth)a§  9iu^Iid^e§  gefd^e^n. 
2Ba§  fyilft  e^  biel  toon  ©timmung  reben  ? 
£)em  3aubernben  erfc^etnt  ftc  nie. 
220  ©ebt  it>r  eud;  einmal  fiir 

<So  commanbirt  bie 


12 


ift  befannt,  toa§  hrir  bebitrfen, 
2Bir  tootten  ftar!  ©etranfe  fcfylurfen  ; 

braut  mir  unberjiiglicfy  bran  ! 

fyeute  nicfyt  gefcfytefyt,  ift  morgen  nid§t  get^anx     225 
Unb  !einen  Sag  foU  man  ber^afjen, 
5Da§  3Jl5gIid^e  foil  ber  (Sntfd^Iufe 
SBefyerjt  fogleid^  bei'm  ©d^o^fe  fafjen, 
6r  toitt  e§  bann  nid^t  fafyren  laffen, 
Unb  ioirfet  toeiter,  toeil  er  mu^.  230 


toifet  auf  unfern  beutfd^en 
ein  jeber  ioa§  er  mag  ; 
S)rum  fd^onet  mir  an  biefem 
^rof^ecte  ni4)t  unb  nic^t  2Rafcf)inen. 
©ebraudgt  ba§  grojj'  unb  fleine  ^immelgUc^t,  235 

3Me  ©terne  biirfet  i^r  berf  cfytoenben  ; 
2ln  2Bajfer,  geuer,  $elfentoanben, 
2(n  3;^ier  unb  SSogeln  fefylt  eg  nid?t. 
@o  fd^reitet  in  bent  engen  Sreterf>au§ 
S)en  ganjen  ^rei§  ber  (Sd^o^fung  au§x  240 

Unb  toanbelt  mit  bebac^t'ger  ©dinette, 
SJom  §immel  burd^  bie  SOSelt  jur 


tm   §tmmeL 


S)er  $err,  bic  fyimmlifdjen  §eerf$aaren, 
nacfyfyer 


2)ie  brei  (5  r  gen  gel  treten  »or. 

9U  p  $  a  e  t 

SDie  (Sonne  tont  nad^  alter  2Beife 
^n  Sruberf^dren  SBettgefang, 

245  Unb  i^re  borgef^riebne  S^eife 

SSoUenbet  fie  mtt  2)onnergang. 
^^r  Slnblic!  gibt  ben  ©ngeln  ©tarfc, 
•JBenn  leiner  fie  ergriinben  mag  ; 
2)ie  unBegretflid^  fco^en  SSerfe 

250  <5inb  ^errlid^  it»ie  am  erften  Stag. 

©abrtel. 

Unb  fd^nett  unb  unbegreiflid^  fc^nelle 
c()  umfyer  ber  @rbe  ^rad^t  ; 


9Jiit  tiefer  fcfwuerbotter 
255  @§  fcfyaumt  ba§  SJieer  in  breiten  ^ftiffett 

21m  tiefen  ©runb  ber  $elfen  auf, 
Unb  ^el§  unb  SJteer  toirb  fortgeriffen 
3"  eh)ig  fcfmettem  ©^arenlauf. 

(13) 


14  gouft 


Unb  (Stitrme  braufen  um  bte  -JBette, 

33om  3Jleer  auf'§  Sanb,  bom  Sanb  auf'3  SOleer,  260 

Unb  bilben  toittfyenb  eine  $ette 

S)er  tiefften  2Bir!ung  rings  um^er. 

2)a  flammt  ein  blitjenbe§  SBerfyeeren 

SDem  $fabe  t>or  be§  5Donnerfc^Iag§  ; 

betne  33oten,  §err,  beret)ren  265 

fanfte  2BanbeIn  betneS 


Slnblic!  gt6t  ben  ©ngeln  ©tcirle 
2)  a  fetner  bid)  ergriinben  ntag, 
Unb  aHe  beine  fyofyen  3Ser!e 
@tnb  ^errlt^)  tote  am  erften  5Cag.  270 

2ft  e  p  ^  i  ft  o  $  fy  e  I  e  8. 
3>a  bu,  o  ^>err,  bid^  einmal  toieber  nafyft 
Unb  fragft  tote  affe§  fid)  bei  un§  oefinbe, 
Unb  bit  mtd^  fonft  getoo^nltd^  gerne  fafyft, 
<So  fte^ft  bu  mtd^  aud;  unter  bem  ©efinbe. 
SSerjet^,  tcfy  lann  ntdE>t  fjo^e  SBorte  madjen,  275 

Unb  toenn  mid^i  aucfy  ber  ganje  ^rei§  ber^o^nt  ; 
3Rein  ^at^o§  brdcf)te  btd^  getotf;  gum  Sadden, 
§att'ft  bu  bit  nid>t  ba§  Sadden  abgetoo^nt. 
SSon  <Sonn=  unb  2BeIten  toet^  id)  ntd^ts  gtt  fagen, 
^c^  fefye  nur  toie  fic^  bie  SRenfdjen  blagen.  280 

S)er  Heine  ©ott  ber  9ScIt  bleibt  jlcts  Don  gleic^em  ©cplag, 
Unb  ift  fo  tounberlic^  a,U  toie  am  erften  £ag. 
@in  toenig  beffer  toiirb'  er  leben, 
^att'ft  bu  ifym  nid)t  ben  @a;ein  be§  £>immel§licf)t§  gegeben  ; 


im  §itnmel.  15 


285    @r  nennt'S  SSernunft  itnb  braud)t'§  attein, 
•ftur  tfyierifdjer  al§  jebe§  Stfyier  ju  fein. 
6r  fd)eint  mir,  mit  33erlaub  Don  @to.  ©naben, 
2Bie  eine  ber  langbeinigen  Sicaben, 
S)ie  immer  fltegt  unb  fliegenb  f^ringt 

290   Unb  gleic^)  im  ©ra§  if>r  alte§  Siebci^en  fingt; 
Unb  lag'  er  nur  norf)  immer  in  bem  ©rafe  ! 
3>n  jeben  Duarl  begrabt  er  feine  -ftafe. 

3)  e  r  §  e  r  r. 

bu  mir  toeiter  ni^)t§  ju  f  agen  ? 
bu  nur  immer  anjuflagen  ? 
29S    3>ft  auf  ^et:  ©r^e  en)i9  bfc  ni<^t§  red^t? 


§err  !  i^  finb'  eg  bort,  ittie  immer,  ^erjlid^  fd^Ied^t. 
2)ie  3Jienfd^en  bauern  mic^  in  ifyren  ^ammertagen, 
%<fy  mag  fogar  bie  Strmen  felbft  nid^t  ^lagen. 

SDer  §err. 
^ennftbubengauft? 

3Ke^ifto^^>eleg. 
Sen  Sector  *, 

2)er  §err. 

2)ieinen  Anedjtl 

3He^f>ifto^^eIeg. 
300    5iirh)aF)r  !  er  bient  eud)  auf  befonbre  SBeife. 

3iid^t  irbifd^  ift  be§  !£I?oren  SCran!  noc^  (S^eife, 

^f^n  treibt  bie  ©d^rung  in  bie  $erne, 

6r  ift  fid^  fetner  £ottfyeit  ^alb  betoufst  ; 

SSom  §immel  forbert  er  bie  fd;6nften  ©terrve, 
305    Unb  toon  ber  @rbe  jebe  ^od)fte  Suft, 


16 


Unb  atte  ^afy  unb  affe  $erne 
SBefriebtgt  ntcfyt  bte  tiefbetoegte  33ruft. 

£>  e  r  £  e  r  r. 

2Benn  er  mir  je|t  aucfy  nur  bertoorren  btent, 
(So  toerb'  id)  ifyn  balb  in  bte  ^larfyett  fiifyren. 
2BeiJ3  bod)  ber  ©artner,  toenn  ba§  Saumd^en  griint,      310 
2)afc  Sliit^'  unb  ^ruc^t  bte  litnft'gen  ^af)re  jteren. 

3«  e  p  ^  t  ft  o  ^  ^e  I  e  «. 
9Sa§  loettet  t^r?  ben  fottt  t{>r  nod^  berlteren, 
SSenn  tfyr  mir  bte  (Srlaitbm^  gebt 
metne  ©tra^e  fad^t  gu  fiifyren  ! 


@o  lang  er  attf  ber  @rbe  lebt,  315 

©o  lange  fet  bir'S  nid§t  berboten. 
6§  trrt  ber  -IRenfcfy  fo  long  er  ftrebt. 

9)1  e  p  ^  t  ft  o  $  $  e  I  e  3. 
3)a  ban!'  id)  eitd^  ;  benn  nttt  ben  ^obten 
§ab'  td^  mid)  mentals  gern  befangen. 
2lm  metften  Iteb'  td^)  mir  bte  botten  frifd^en  SBangen.      320 
giir  etnen  Seid^nam  bin  tc^  ntci^t  ju  §au§  ; 
ge^t  e§  tote  ber  ^a^e  mtt  ber  9Jtau§. 


3)  er  §err. 

9hm  gut,  eg  fet  bir  iiberlaffen  ! 
3ie^>  biefen  ©etft  bon  feinem  UrqueH  ab, 
Unb  fitfyr'  t^n,  fannft  bu  tl;n  erfaffen,  325 

2luf  beinem  2Bege  mtt  fyerab, 
Unb  fte^)  befd^amt,  toenn  bu  befennen  mu|t  : 
©in  guter  -SRenfrf;  in  feinem  bimflen  2)range 
^ft  fid;  be§  redjten  2Bege§  iuo^I  belou^t. 


Prolog  int  £immel.  17 


330  ©cfyon  gut  !  nur  bauert  e§  nidjt  lange, 

3JZir  ift  fur  tneine  2Bette  gar  nicfyt  bangc. 
SSenn  id)  ju  meinem  gtoecf  gelange, 
(grlaubt  ifyr  mir  Sriump^  au§  better  33ruft. 
©taub  foil  er  freffen,  unb  mit  Suft, 

335  SOBte  meine  SRufyme,  bie  berii^mte  ©flange. 

2)  e  r  §  e  r  r. 

$u  barfft  au^>  ba  nur  fret  erfd^etnen  ; 
^5^  fyabe  jDeineSgleid^en  nie  ge^afet. 
S3on  aUen  ©eiftern  bie  berneinen 
^ft  mir  ber  (Scfyalf  am  toenigften  jur  2aft. 

340  1De§  SJienfd^en  £l)atig!ett  lann  aUjuIeid^t  erfd§Iaffen, 

©r  Itebt  ftd^  balb  bie  unbebingte  Shify  ; 
2)rum  geb'  id^  gern  i^m  ben  ©efeffen  ju, 
3)er  reijt  unb  toirft  unb  mujj  al§  Xeufel  fd§affen. 
2)0^)  ifyr,  bie  ed^ten  ©otterfo^ne, 

345  ©rfreut  eud^)  ber  lebenbig  reid^en  ©c^one  ! 

S)a§  2Berbenbe,  ba§  enrig  toirft  unb  lebt, 
Umfaf['  eud^  mit  ber  Siebe  ^olben  <3<$ranfen, 
Unb  toa§  in  fd^inanfenber  ©rfdtjeinung  fd^toebt, 
Sefeftiget  mit  bauemben  ©ebanlen. 

S)er  ^immet  f(^He§t,  bie  (5  r  j  e  n  g  e  I  oertljeilen  jtc^. 

3Ke^)^ifto^^eIe§  attein. 
350  SSon  3eit  ju  3^t  fefy'  id?  ben  2llten  gem, 

Unb  fyiite  mid?  mit  t^m  gu  bred^en. 
@S  ift  gar  ^ubfd^  bon  einem  grofien  ^errn, 
©o  menfd^Iid?  mit  bem  Xeufel  felbft  ju  fpredljen. 


r  a  g  o  b  t  e 
(£rftcr  Sljeil. 


(19) 


Sfeadjt 


3n  einem  Ijodjgetootbten  ettgen  gotljifdjen  Dimmer  %  a  u  fl  unruljig 
aitf  feinem  @e[fel  ant 

gauft. 


nun,  ad)  ! 

355  £jurifterei  unb  2Rebicin, 

Unb  leiber  aucfy  2^e0logie  ! 
jDurd^iauS  ftubtrt,  mit  fyeijjem 
S)a  ftef>'  id^  nun,  idj  armer 
Unb  bin  fo  !Iug  al§  toie  gubor  ; 

360  §ei^e  -JJlagifter,  ^et^e  SDoctor  gar, 

Unb  jiefye  fd^on  an  bie  je^en  3>afyr, 
§erauf,  ^erab  unb  quer  unb  frumm, 
SReine  ©filler  an  ber  Sftafe  Return  — 
Unb  f  efye,  ba^  h)ir  nid)t§  toiffen  fonnen  ! 

365  2)a§  hnH  mir  fd^ter  ba§  §er^  ber&rennen. 

3toar  bin  id^  gefc^eibter  al§  atte  bie  Saffen, 
SDoctoren,  SRagtfter,  ©d^reiber  unb  ^Pfaffen  ; 
•iJJttdj  ^lagen  feine  ©cru^el  nod^  gtoeifel, 
giir^tc  mid^  ioeber  t»or  £>6He  nod^  SCeufel  — 

370  3)afiir  ift  mir  aud^)  atte  $reub'  entriffen, 

Silbe  mir  nid;t  ein  toa§  9ted^t§  ju  tuiffen, 
SBilbe  mir  nidgt  ein  id^  lonnte  toa§  le^ren 
2)ie  3Jtenfd^en  ju  beffern  unb  gu  befe^ren. 

(ai) 


22  ftauft.    (Srfter  Sfjeit. 


fyab'  icfy  toeber  ©ut  nodfj  ©elb, 
@fyr'  unb  £errlicpett  ber  2BeIt  ;  375 

@§  mocfyte  f  ein  £unb  fo  langer  leben  ! 
3)rum  fyab'  i<^  mtd;>  ber  3Jlagte  ergeben, 
Db  mir  burd^)  ©eifte§  ^raft  unb  3Jiunb 
mand^)  ©e^etmni^  toiirbe  lunb  ; 
id^  nid^t  mefyr,  tnit  fauerm  <Sd)h)ei^,  380 

u  fagen  braud^e  toa§  id^  nicfyt  iuei^  ; 

erfenne  toa§  bie  SBelt 
3>nnerften  jufammen^alt, 

'  aEe  2Birfen§!raft  unb  ©amen, 
Unb  tfyu'  nicfyt  me^r  in  SSorten  Iramen.  385 

D  fcti)ft  bu,  DoHer  3Jionbenfcfyein, 

3um  le^tenmal  auf  nteine  ^|Bein, 

Sen  id^  fo  manege  3Jittternad^t 

2ln  btefem  ^3ult  ^erangetoad^t  : 

SDann,  iiber  Sud^ern  unb  papier,  390 

^riibfel'ger  ^r^unb,  erfd^ienft  bu  mir  ! 

2ld^  !  lonnt'  id^  bod^  auf  33erge§s§6i>n 

$n  beinem  lieben  Std^te  ge^n, 

Urn  SBerge^ofyle  mit  ©eiftern  fd^toeben, 

2luf  2Biefen  in  beinem  S)ammer  toeben,  395 

SSon  aUem  2Biffen§quaIm  entlaben 

^n  beinem  Rfyau  gefunb  micfy  baben  ! 


ftecT  id^  in  bem  Verier  no$  ? 

m^fe§  3Jiauerlod^, 
felbft  ba§  liebe  §immel§lid^t  400 

gema^Ite  (Sd^etben  bri$t! 
SBefd^rdnft  toon  biefem  $Bii(^erf)auf, 
35en  2Biirme  nagen,  ©taub  bebedft, 


23 


£>en,  bi§  an'§  fyofye  ©etoolb'  fyinauf, 
405  @in  angeraucfyt  papier  umfiedt  ; 

SDttt  ©lafern,  .Stiffen  rings  umfteUt, 
2Rit  ^nftrumenten  boflgepfropft, 
Urbater  £>au§ratf)  brein  geftofeft  — 

ift  beine  SBelt!  ba§  ^eifet  eine  3Be(t! 


410  Unb  fragft  bu  nod^,  tuarum  betn 

©id^  bang  in  betnem  93u[en  flemmt? 
2Barum  ein  unerllarter 
25ir  atle  2e6en§regung 
©tatt  ber  lebenbtgen 

415  ©a  ©ott  bie  9Jienfrf)en  f4)uf  ^inein, 

Umgibt  in  Staudj  unb  SRober  nitr 
SDtdj  2;^iergeri^^)'  unb  ^obtenbein. 


glie^  !  Stuf  !  §inau§  in'g  toeite  Sanb  ! 

Unb  bie^  gefyeitnnijjbotfe  S3ud§, 
420  SSon  9^oftrabamu§  eigner  §anb, 

3ft  bir  e§  nicfyt  ©eleit  genug? 

(Srfenneft  bann  ber  (Sterne  Sauf, 

Unb  toenn  -ftatur  bid§  untcrioeif  t, 

5Dann  ge^t  bie  ©eelenfraft  bir  auf, 
425  SBie  f^rid^t  ein  ©eift  jum  anbern  ©eift. 

Umfonft,  ba^  trodcne§  <Sinnen  ^ier 

2)ie  i>eil'gen  $e\d)m  bir  er!Iart. 

3^>r  fcbtoebt,  i^r  ©eifter,  neben  mir  ; 

Slnttoortet  tnir,  toenn  i^r  mic^  f)6rt  ! 

ba«  iBucf)  auf  unb  erbltrft  ba8  3e^en  & 

§a  !  toeldje  S^onne  flie^t  in  biefem  33IicE 
2luf  einmal  mir  burc^)  afte  meine  Sinnen  ! 


24  gcmji.    (Srfiet 


$$  fitfyle  jungeS  fyeil'geS  2eben§glucl 
9teuglubenb  mir  burcfy  -fterb'  unb  Slbern  rinnen. 
2Bar  e§  ein  ©ott,  ber  biefe  3e^en  f^rteb, 
2)ie  mir  ba§  innre  £oben  ftiffen,  435 

2)a3  arme  §erj  mit  greube  filtten, 
Unb  mit  ge^eimnt^tiottem  £rteb 
S)ie  ^rafte  ber  ^atur'ringS  urn  mi$  ^er  ent^iitten? 
S3in  t$  ein  ©ott?    Wir  toirb  fo  lic^t  ! 
^5^>  fd^au'  in  biefen  reinen  3^gen  440 

®ie  totrfenbe  5Ratur  bor  meiner  <SeeIe  Itegen. 
^e^t  erft  erf  enn'  icfy  h)a^  ber  2Beif  e  fpric^t  : 
,,1Die  ©eiftertoelt  ift  nid^t  berfrfrtoffen  ; 
,,2)ein  ©inn  ift  511,  bein  §erj  ift  tobt  ! 
,,2luf,  babe,  ©c^tiler,  unberbroffen  445 

,,$ie  irb'fc^e  SBruft  im  9ftorgenrotf)  I" 
Sr  befd^aut  ba«  3e^en. 

SBie  aEe§  ftd^)  jum  ©anjen  h)ebt, 
6in§  in  bem  anbern  iuir!t  unb  lebt  ! 
2Bie  §immel§frdfte  auf  unb  nieber  fteigen 
Unb  ftrf)  bie  golbnen  ©inter  reicfyen  !  450 

9Jiit  fegenbuftenben  ©djtoingen 
3Som  §immel  burd^  bie  @rbe  bringen, 
aU'  ba§  2ltt  burc^IIingen  ! 


(SdEjaufpiel  !   aber  ac§  !  ein  (Scfyaufpiel  nur  ! 
2Bo  faff  ic^  bid^,  unenblid^e  9?atur?  455 

@u$  Sriifte,  h>o?    ^^r  Dueflen  alle§  SebenS, 
2ln  benen  §immel  unb  @rbe  ^angt, 
2)af)in  bie  toelfe  33ruft  fid^  brangt  — 
I^fyr  queEt,  i^r  tranlt,  unb  fcljmacfyt'  id^  fo  bergebenl  ? 
(£r  jc^Iagt  unwittig  baS  S3ud)  um  unb  erbttcft  ba§  3etd)en  be8  SrbgeifteS. 


25 

460       2Bte  anberS  toirft  biefj  fttifyn  auf  micfy  ein  ! 

35«,  ©eift  ber  @rbe,  bift  mir  nafyer  ; 

©djon  fiifyr  id?  meine  $rafte  fyofyer, 

<3d)on  gliify'  id)  tote  t>on  neuem  SBein, 

!yd;  fiifyle  Wlufy  mid^  in  bie  2BeIt  511  toagen, 
465       S)er  @rbe  2Befy,  ber  @rbe  ©liidf  gu  tragen, 

3Jiii  ©tiinnen  mid^  ^erumjufd^Iagen, 

Unb  in  be§  ©d^iffbrud^S  ^nirfd^en  nid^t  ju  jagen. 

@§  toolft  ficfy  iiber  mir  — 

S)er  3Jtonb  toerbirgt  fein  Sid^t  — 
470      35ie  Sampe  fd^toinbet  ! 

6§  bampft  !  —  ©§  jutfen  rot^e  ©tra^Ien 

SJlir  urn  ba§  §au^t  — 

Gin  ©cfyauer  t>om  ©etoolb' 

Unb  fafet  mid^  an  ! 
475      S$  fi*^'^/  bu  fd^toebft  um  mid^,  erfle^ter 


§a  !  h)ie'§  in  tneinem  §erjen  rei|t  ! 

3u  neuen  ©efit^Ien 

2ltt'  meine  ©innen  fid^  ertoii^Ien  ! 
480       $cf)  fii^le  gan^  mein  §erj  bir  fyingegeben  ! 

2)u  mu|t  !  bu  mujjt  !  unb  foftet'  e§  mein  2eBen  ! 
Gr  fa^t  ba8  S3ud^  unb  fpridjt  bag  3e^en  be8  ©eifieS  getjeitnnifj&otl  aits. 
g8  gurft  eine  rotfjHdje  famine,  ber  ©  e  i  ft  erfcfyeittt  in  ber  glatmne. 

©eift. 

SSerruftmir? 

31  a  u  ft  abgetoenbet. 
©cfyrecf  lt$e§  ©eftc^t  ! 

©eift. 

S)u  fyaft  mid^  mcid^tig  angejogen, 
2ln  meiner  @^^are  lang  gefogen, 
485       Unb  nun  — 


26  gcmfl.    (Srfter 


2BeI)  !  id^  ertrag'  bicfy  nidfjt  ! 
©eift. 

£>u  flefyft  eratfymenb  mi$  ju  fd^auen, 

9fteine  ©timme  §u  fyoren,  mein  2lntli|  ju  fefyn  ; 

neigt  bein  mac^tig  6eelenfle^n, 
bin  icfy  !  —  2BeId5>  erbarmlid^  ©rauen 

tibermenfd^en  bid?  !    SSo  ift  ber  ©eele  9?uf?       490 
2Bo  ift  bie  33ruft,  bie  eine  Belt  in  ficfy  erfd^uf, 
Unb  trug  unb  ^egte,  bie  tnit  ^reubebeben 
@rfd^h)ott,  fid^  un§,  ben  ©eiftern,  gleid^)  ju  ^eben? 
2Bo  bift  bu,  $CM\t,  be^  ©timme  mir  erllang, 
2)er  fic^  an  micfj  mit  atten  ^raften  brang  ?  495 

SBift  b  u  e§,  ber,  toon  meinem  §aud^  umtoittert, 
^n  aHen  SebenStiefen  jittert, 
@in  furc^tfam  toeggeJriimmter  2Burm? 


icfy  bir,  ^lammenbtlbung,  toeid^en? 
$d;  bin's,  bin  ^auft,  bin  2)eineggleid§en  !  500 

©eift. 

^n  SebenSflutfyen,  im  S^atenfturm 
2BaU'  id^  auf  unb  ab, 
2Be^>e  ^in  unb  fyer  ! 
©eburt  unb  ©tab, 

(Sin  etoigeg  9Keer,  505 

©in  toedjfelnb  SSeben, 
(Sin  glii^enb  Seben, 

@o  fd^aff'  ic^  am  faufenben  SBebftu^I  ber  3eit, 
Unb  toirfe  ber  ©ott^eit  lebenbigeg 


27 


510  2)er  bit  bie  toeite  2BeIt  itmfdtjtoetfft, 

©efcfydfttger  ©eift,  tote  nafy  fu'fyl'  id^  mtd&  btr! 

©eift. 

S)u  gleicfyft  bent  ©etft  ben  bit  begreifft, 
mtr  ! 

SSerjt^minbet. 

§  a  u  ft  jufammenftiirjenb. 
btr? 
515  SSem  benn? 

^d?  ©benbilb  ber  ©ott^eit  ! 
Unb  ntd^t  etnmal  bir  ! 

e«  Hopft. 

D  Xob  !  td^  lenn'S  —  bad  tft  metn  famulus  — 
(£§  toirb  ntetn  fd^onftel  ©liidf  511  ntcfjte  ! 
520  3)a^  btefe  giitte  ber  ©efid)te 


3)er  trocfne  <Sd^Ietd)er  ftoren  mu§  ! 
SDBagner  im  ©t^Iafrode  unb  ber  ftadjtmufce,  eine  Sampe  in  ber 
§  a  u  ft  tuenbet  fti^  unwittig. 

SBagner. 

SSerjetf)t  !  id^  ^or'  eu$  beclamtren  ; 
%fa  laf't  getotfc  etn  gried^tfd^  Xrauerfptel  ? 
5jn  btefer  ^unft  moc^t'  td^  toa§  ^roftttren, 
525  2)enn  ^eut  311  £age  totrft  bag  btel. 

!3df>  ^ab'  eg  6fter§  ru^nten  fyoren, 
(gin  ^omobtant  fonnt'  etnen  ^Bfarrer  le^ren. 


^a,  toenn  ber  ^farrer  ein  ^omobiant  tft  ; 
2Bte  bag  benn  too^l  511  $dten  fommen  mag. 


28  gaufl.    Grfter 


•JBagner. 

21  d)  !  toenn  man  fo  in  fein  'JUiufeum  gebannt  ift,  530 

Unb  fiefyt  bie  28elt  !aum  einen  $eiertag, 
$aum  burd)  ein  $erngla§,  nur  toon  toeiten, 
2Bie  foil  man  fie  burd)  ilberrebung  leiten? 

gauft. 

SSenn  ifyr'S  nid^t  fii^It,  tyt  ioerbet'S  nicfyt  erjagen, 
SSenn  e§  nid^t  au§  ber  <3eele  bringt,  535 

Unb  mit  urlrdftigem  Se^agen 
3)ic  Bergen  atter  ^orer  gn)ingt. 
©i^t  ifyr  nur  immer  !  Seimt  jufammen, 
Sraut  ein  Ragout  toon  anbrer  <5cfymau§, 
Unb  blaf't  bie  liimmer  lichen  $Iammen  540 

2(ii§  eurem  2lfdOenI)aufcfyen  ^>'rau§  ! 
SBetounbrung  toon  $inbern  unb  2(ffen, 
2Benn  eud^)  barnacfy  ber  ©aumen  ftet)t  ; 
®ocfy  tuerbet  i^r  nie  §erg  ju  §erjen  fd^affen, 
2Benn  e§  eud)  nid)t  toon  §erjen  ge^t.  545 


•JBagner. 

2lHein  ber  SSortrag  macfyt  be§  9tebner§  ©liid  ; 
l'  e§  h)0^)l  nod)  bin  irf>  toeit  juriicf. 


gauft. 

Sr  ben  reblid)en  ©eh)inn  ! 
@ei  @r  fein  fd)eHenIauter  Slljor  ! 

©§  trdgt  SSerftanb  unb  redder  ©inn  550 

3Kit  toenig  ^unft  fid;  felber  bor  ; 
Unb  h)enn'§  eud)  @rnft  ift  toa§  ju  fagen, 

notfyig  2Sorten  nadigujagen? 
a,  cure  9teben,  bte  fo  blinfenb  finb, 


ftodjt.  29 

555          3n  benen  ifyr  ber  SDfenfc^ett  @<f>m^el  frciufelt, 
<Sinb  unerqutcflid;  tote  ber  -ftebelimnb, 
2)er  fyerbftlid)  bitrcfy  bie  barren  flatter  fciufelt  ! 

SBagner. 

2lrf>  ©ott  !  bie  toft  ift  lang  ! 

Unb  furj  ift  unfer  Seben. 
560          9Jiir  toirb,  bet  meinem  Irttifd^en  Seftreben, 

5Doc^  oft  urn  $opf  itnb  Sitfen  bang. 

2Bte  fd^toer  ftnb  nid^t  bte  3Rtttel  gu  ertoerben, 

3)urc^  bte  man  ju  ben  QueUen  ftetgt  ! 

Unb  e^)'  man  nttr  ben  ^alben  2Beg  erretd^t, 
565          -JRujj  iuo^I  etn  armer  £eufel  fterben. 


^3ergament  ift  ba§  ber  ^eil'ge  Sronnen, 
2Borau§  ein  2:run!  ben  ©urft  auf  ehng  fttttt  ? 
©rqutctitng  fyaft  bu  ntd^t  getoonnen, 
SBenn  fie  bir  nidjt  au§  eigner  ©eele  quittt. 

2B  a  g  n  e  r. 
570          SBerjet^t  !  e§  ift  ein  groft  6ra.e^en, 

@id^  in  ben  ©eift  ber  getten  ju  berfe^en, 

3u  fcfyauen  loie  bor  un§  ein  toeifer  3Jlann  gebad^t, 

llnb  h)ie  n)ir'§  bann  gule^t  fo  ^errlic^  toett  gebrac^t. 

gauft. 

D  ja,  bt§  an  bie  (Sterne  toeit  ! 
575  -JRein  ^reunb,  bte  $eiten  ber  33ergangen^eit 

<3inb  un§  ein  33itcfy  mit  fieben  ©tegeln  ; 

>r  ben  ©eift  ber  ,3etten  ^ei§t, 
ift  im  ©ritnb  ber  ^erren  eigner  ©eift, 
n  bem  bte  3eiten  fid?  befpiegeln. 


30  ftaiifi.    (Srfter 


S)a  ift'3  benn  toafyrlid;  oft  ein  jammer  !  580 

9J{an  Iduft  eucfe,  bet  bem  erften  Slid  babon. 

©in  ^efyridjtfajj  unb  eine  Sftumbellammer, 

Unb  fyodjftenS  etne  £>aubt=  unb  ©taatSaction 

3)itt  trefflic^en  bragmatifdjen  -SRarjmen, 

2Bie  fie  ben  ^u^en  toofyl  im  5Kunbe  giemen  !  585 


•JBagner. 

SlKein  bie  SBBelt  !  beg  3ftenfc6en  ^>er§  unb  ©eift  ! 
f  jeglic^er  bod^  toa§  babon  erfennen. 


^auft. 

^a  toa§  man  fd  erfennen  ^ei^t  ! 
2Ber  barf  ba§  ^inb  bei'm  red^ten  Xiamen  nennen  ? 
3)ie  toenigen,  bie  tt>a§  babon  erlannt,  590 

SDie  t^brid^t  g'nug  ifyr  botte§  §erj  nid§t  toa^rten, 
SDem  ^obel  i^r  ©efil^I,  i^r  ©cfyauen  offenbarten, 
§at  man  toon  je  gefreujigt  unb  berbrannt. 
^5^>  bitt'  eud§,  ^reunb,  e§  ift  tief  in  ber  -ftac^, 
2Bir  mitffen'3  bie^mal  unterbred^en.  595 

2S  a  g  n  e  r. 

^jdt)  fyatte  gern  nur  immer  fortgetoarfjt, 
Urn  fo  gelet)rt  mit  eud;  mic^  ju  befbrec^en. 
5Doc^  morgen,  al§  am  erften  Oftertage, 
(Srlaubt  mir  ein'  unb  anbre  $rage. 
3Kit  Sifer  tjab'  \<fy  micb,  ber  <Stubien  befliffen  ;  600 

3toar  tbei§  id;  btel,  bocfj  moc^t'  \fy  atte§  toiffen. 
216. 

3=  a  u  ft  afleiit. 

2Bie  nur  bem  $obf  nid;t  atte  §offnung  fdjhnnbet, 
immerfort  an  fd;alem  3eu8e  flebt, 


31 


gier'ger  §anb  nad;  @d;at}en  graot, 
605       Unb  froF>  ift  toenn  er  9tegentourmer  finbet  ! 

SDarf  etne  foldje  SRenfdienftimme  bier, 
ifiSo  ©eifterfiitte  mid;  umgab,  ertb'nen? 
2)od;  ad;  !  fiir  biejjmal  ban!'  td^  bir, 
33em  armlid^ften  toon  aCen  Grbenfo^nen. 
610       2)u  rifyeft  mid)  toon  ber  Ser^toeiflung  Io§, 
®te  mir  bte  (Sinne  fdbon  jerftbren  luottte. 
21$  !  bie  Grfd^etnung  irar  fo  rie[engro§, 
2)a^  i$  mi$  redjt  alg  3toer9  ent^finben  foffte. 

3$,  ©benbtlb  ber  ©ott^eit,  ba§  ft$  fd^on 
615       @anj  na^  gebiinft  bem  (Spiegel  etu'ger 

©em  felbft  geno^  in  §immeleglanj  unb 

Unb  abgeftreift  ben  (Srbenfofyn  ; 

^5$,  me^r  al§  Gfyerub,  befjen  frete  ^raft 

(S$on  burdf)  bie  5tbern  ber  9?atur  ju  flie^en 
620       Unb,  fd^affenb,  ©otterleben  511  gente^en 

©t$  a^nung§boll  ttermajj,  tote  ntu^  irf)'§  bii^en  ! 

@tn  !Donnertoort  ^at  mtcf>  ^intoeggerafft. 

barf  i$  btr  511  gleicfyen  mid)  bermejfen  ! 
'  id;  bie  ^raft  bid;  anjujiefyn  befeffen, 
625       ©o  ^att'  id;  bid;  ju  fatten  !eine  £raft. 

^n  jenem  fel'gen  Slugenblide 

3»d;  fiif>Ite  mid;  fo  llein,  fo  grofj  ; 

35u  ftie^eft  graufam  mid;  juriide, 

^n'§  ungetoiffe  9Jienfd;enIoo§. 
630       2Ser  Iet>ret  mid;  ?  toa3  fott  id;  meiben  ? 

SoH  id;  gef>ord;en  jenem  2)rang? 

2ld;  !  unfre  3:^aten  felbft,  fo  gut  ate  unfre  Seiben, 

<Sie  b^emmen  unfre»  2eben^  ©ang. 


32  goiifi.    (Srfter  Sljeil. 


^errlidjften,  itw§  aud;  ber  ©eift  embfangen, 
SDrangt  immer  fremb  unb  frember  ©toff  fid;  an  ;  635 

SSenn  toir  gum  ©uten  biefer  2Mt  gelangen, 
S)ann  tyeifjt  ba§  Seff're  £rug  unb  2Bafyn. 
©ic  un§  ba§  Seben  gaben,  ^errlid^e  ©efii^Ie, 
(Srftarren  in  bem  irbifcfyen 


SBenn  ^S^antafie  fid^  fonft  mit  lii^nem  ^lug  640 

Unb  ^offnungSboU  jum  ©toigen  erh>eitert, 

<So  ift  ein  !Ietner  9taum  ifyr  nun  genug, 

2Benn  ©liid  auf  ©liic!  im  3eitenftrubel  fdjeitert. 

S)te  ©orge  niftet  gletcf)  im  tiefen  §erjen, 

Sort  toirfet  fie  gefyetme  ©d^mergen,  645 

UnruF>ig  toiegt  fie  ficfy  unb  ftoret  2uft  unb  Diulj  ; 

@ie  bedt  fid;  ftet§  mit  neuen  9Jla§!en  311, 

@ie  mag  al§  §au§  unb  £>of,  aU  2Seib  unb  $tnb  erfd^einen, 

21B  geuer,  Staffer,  S)olci>  unb  ©ift  ; 

®u  bebft  bor  attcm  tr>a§  nid;t  trifft,  650 

Unb  toa§  bu  nie  berlierft  ba§  mu^t  bu  ftet§  betoeinen. 


©ottern  gleid;'  id?  ntd&t  !    BU  tief  ift  e§  gefuf>It  ; 
2Surme  gletd;'  id;,  ber  ben  ©taub  burd;ttiu^It  ; 
2)en,  h)ie  er  fid;  im  ©taube  naf>renb  lebt, 

28anbrer§  2;ritt  bernid;tet  unb  begrabt.  .  655 


^sft  e§  nid;t  ©taub  h)a§  biefe  fyofye  SSanb, 

2tu§  I>unbert  ^ddiern,  mir  berenget  ; 

!iDer  Xrobel,  ber  mit  taufenbfadjem  Xanb 

^n  biefer  5CRottentoeIt  mid;  branget  ? 

£>ier  foU  id;  finben  tca§  mir  fefylt?  660 

<SoH  id;  bietteid;t  in  taufenb  33iid;ern  lefen, 


33 


iiberatt  bie  3CRenfd)en  fid)  gequalt, 

3)aJ3  l)ie  unb  ba  ein  ©Iudflid)er  getoefen?  — 

9Ba§  grinfeft  bu  tnir  fyofyler  @d)abel  fyer? 
665   2U§  bafj  bein  §irn  Erie  meine§  einft  bernrirret 

3)cn  Ieid;ten  Xag  gefud)t  unb  in  ber  ©ammrung  fd)toer, 

9}ctt  Suft  nad)  SBa^eit,  jammerltrf)  geirret. 

^t  ^nftrumente  freilid^  fpottet  mein, 

3Ktt  Sffab  unb  £ammen,  SBalj'  unb  Siigel  : 
670   3$  ftanb  am  £fyor,  ifyr  fotttct  ©c^Iuffel  fetn  ; 

3toar  euer  S3art  ift  !rau§,  bod)  fye&t  it>r  nid^t  bte  Sttegel. 

©e^eimm^bott  am  listen  5tag 

Safet  fid)  3Ratur  be§  <Sd)leier§  nid)t  berauben, 

Unb  tt>a§  fie  betnem  ©eift  nid;t  ojfenbaren  mag, 
675  SDa<§  jtotngft  bu  il^r  nid)t  ab  mit  §ebeln  unb  mit  <Sd)rau6en. 

3)u  alt  ©ercit^e  ba§  idE)  nid^t  gebraudBt, 

2)u  ftefyft  nur  f>ier,  ireil  bid;  mein  SSater  braud)te. 

S)u  alte  9iotte,  bu  toirft  angeraud)t, 

So  lang  an  biefem  ^3ult  bie  triibe  Sam^e  fd;maud)te. 
680   Seit  beffer  ^atf  id)  bod;  mein  2Benige§ 

21I§  mit  bem  2Benigen  belaftet  ^ier  j 

2Ba§  bu  ererbt  bon  beinen  SSatern  l>aft, 

©rit)irb  e§  um  es>  gu  befi^en. 

2Ba§  man  nid)t  nii^t  ift  eine  fd)toere  2aft  ; 
685   5Kur  toa§  ber  Slugenblid  crfd)afft  ba§  lann  er  niiijen. 


toarum  fyeftet  fid;  mein  Slid:  auf  jene  ©teffe? 
^ft  |ene§  g^fd)d)en  bort  ben  2lugen  ein  SRagnet? 
SBarum  toirb  mir  auf  einmal  lieblid)  ^ette, 
31I§  toenn  im  ndd)t'gen  2SaIb  un§  SJlonbenglanj  umtoe^t? 


690   ^d;  grille  bid;,  bu  eingige 

S)ie  id;  mit  5Inbad;t  nun  fjerunter^ole, 


34  ftcmft.    (Srfler  Sljeil. 

3n  bir  toerefyr'  id)  SRenfd&enttrifc  unb  $unft. 

£)u  lynbegriff  ber  fyolben  @d?lummerfafte, 

SDu  2(u§5ug  otter  tobtltcf)  feinen  ^rafte, 

©rtoeife  beinem  -JReifter  bctne  ©unft  !  695 

3d)  fefye  bid^,  e§  toirb  ber  6$merj  gelinbert, 

^d^  faffe  bid^,  ba§  (Streben  toirb  geminbert, 

S)e§  ©eifte§  ^lut^ftrom  ebbet  nad^>  unb  nacfy. 

^n'g  ^o^e  2Reer  toerb'  id^  binauSgetotefen, 

2)ie  (S^iegelflut!^  erglangt  gu  metnen  ^ii^en,  700 

3u  neuen  Ufern  lorft  ein  neuer  Sag. 


@tn  ^euerioagen  fd^toebt,  auf  leicfyten 

2ln  mid^)  ^eran  !    %<fy  fiil^Ie  mid^  berett 

2luf  neuer  S3ai)n  ben  2it^er  §tt  burd^bringen, 

3u  neuen  (S))i)aren  reiner  X^attgfeit.  705 

©ie^  ^oF>e  Seben,  btefe  ©ottertnonne  ! 

S)u,  erft  nocfy  SBurm,  unb  bte  berbteneft  bu  ? 

^a,  !e!^re  nur  ber  fyolben  ©rbenfonne 

©ntfd^toffen  beinen  ^utfen  ju  ! 

Sermeffe  bid?  bte  ^forten  aufjurei^en,  710 

SSor  benen  jeber  gern  boriiber  fcfyletdjt  ! 
tft  e§  3ett  burd?  ^baten  ju  betoeifen, 
9Jianne§tt)urbe  ntd^t  ber  ©6tteri>D^e  h)eid)t, 

9Sor  jener  bunfeln  §of>le  nidljt  ju  beben, 

^n  ber  fid;  $fyantafie  §u  eigner  Dual  berbammt,  715 

9?ad)  jenem  2)urd;gang  fyinjitftreben, 

Um  beffen  engen  SRunb  bie  gange  ^oHe  flammt  ; 

3u  biefem  @d)ritt  fid)  Better  §u  entfdBIie^en 

llnb,  toa'r'  e§  mtt  ©efaf>r,  in'^  3^id;t§  ba^tn  ju  flte^en. 


fomm  f)erab,  frtyftaGne  reine  @d)ale!  720 

auS  beinem  alien  ^utterale, 


SRadjt.  35 

Sin  bie  id)  toiele  ^a§re  nidfyt  gebacfyt ! 

2)u  glanjteft  bei  ber  SSater  greubenfefte, 

(Srfyeiterteft  bie  ernften  ©afte, 
725       SSenn  einer  bicfy  bem  anbern  jugebrad^t. 

SDer  toielen  33ilber  fiinftlicfy  reicfye  ^rad§t, 

S)e§  2;rin!er§  ^Bflid^t,  [te  reimtoet§  ju  er!Idren, 

3luf  @inen  3«g  bie 

(grinnert  mid^  an  mand^e 
730       %$  toerbe  je^t  bid)  !einem  3tad)bar  reid^en, 

%fy  toerbe  meinen  SSi|  an  beiner  $unft  nid^t  geigen ; 

§ier  ift  ein  ©aft,  ber  eilig  trunfen  mac^t. 

SD^it  brauner  glutl>  erfiittt  er  beine  §ot>Ie. 

S)en  idj  bereitet,  ben  ic§  toa^Ie, 
735       ®er  le^te  2"runf  fei  nun,  mit  ganger  ©eele, 

21I§  feftlidji  F>o^»er  ©rufe,  bem  3Korgen  sugebrad^t ! 
(5r  je^t  bie  ©cfjale  an  ben  2Jiunb. 

©locfenllang  unb  GI)  or  g  ef  an  g. 

d^or  ber  (Sngel. 

G&rift  ift  erftanben ! 
greube  bem  @terblid)en, 
3)en  bie  berberblic^en, 

740  ©djteidjenben,  erblic^en 

9JidngeI  umiuanben. 

ftauft. 

ttefe§  (Summen,  toeld^  ein  Better  S^on, 
mit  ©etoalt  bag  ©Ia§  Don  meinem  2Runbe? 
3Serliinbiget  i^r  bum^fen  ©loden  fdjon 
745       ®e§  Dfterfefteg  erfte  geierftunbe? 


36  "gonfl.    (Srfier  SljeiL 


Gfyb're  fingt  ifyr  fcfyon  ben  troftlicfyen  ©efang, 
3)er  einft,  um  ©rabe§  9?ad)t,  bon  ©ngelSlippen  Hang, 
einem  neuen  SBunbe  ? 

Gfyor  ber  2B  e  i  b  e  r. 
2Rit  ©^ecereien 

fatten  ioir  i^n  ge^flegt,  750 

2Bir  feme  2;reuen 
fatten  i^n  fytngelegt  ; 
unb  93inben 
umtoanben  toir, 

2ld^  !  unb  fair  finben  755 

G^rift  nicfyt  me^r  ^ter. 

6^)or  ber  (Sngel. 
(Shrift  ift  erftanben  ! 
(Selig  ber  Siebenbe, 
2)er  bte  betriibenbe, 

^eilfam'  unb  iibenbc  760 

beftanben  ! 


2Ba§  fucfyt  i^r  ma^ttg  unb  gelinb, 

igfyr  §tmmel§tone,  mid^  am  ©taube? 

$Ungt  bort  umf)er,  too  toeid^e  SRenfcfyen  finb. 

©te  Sotfc^aft  ^or'  icfy  tuo^I,  attein  mtr  fe^It  ber  ©laube  ;      765 

2Bunber  ift  be§  ©Iauben§  UcbftcS  £tnb. 
jenen  ©^F)aren  toag'  \<fy  nid^t  gu  ftreben, 

bte  fyolbe  ^a^rtd^t  tont  ; 
Unb  bo$,  an  biefen  ^lang  Don  ^ugenb  auf  getoo^nt, 
3^uft  er  aud;  je^t  juritdf  mici^  in  ba§  Seben.  770 

6onft  fturjte  fid;  ber  §immeII;Siebe 


Stedjt.  37 

2Iuf  micfy  I)erab,  in  ernfter  (Sabbatfyftitfe  ; 

35a  flang  fo  afynungsbott  be§  ©lotfento 

Unb  ein  ©ebet  ftmr  briinftiger  ©enujj  ; 
775  @in  unbegreiflid)  fyolbe§  ©efynen 

Xrieb  mtd^  bitrcf)  2Balb  unb  2Btefen  ^t 

Unb  unter  taufenb  fjei^en  2^^ranen 

giifylt'  id)  mir  eine  2Belt  entftefyn. 

3)ie§  2ieb  berliinbete  ber  ^ugenb  mitntre 
780  ®er  griifyUngSfeter  freie§  ©IM  ; 

©rtnnrung  fyalt  mid^)  nun  mit  ltnbIicE)em  ©efiifyle 

SSom  le^ten  ernften  ©d^ritt  juriid 

D  tonet  fort  tf>r  fitfcen  $tmmeI§Ueber  ! 

S)ie  3;f>rane  qiuttt,  bie  (Srbe  ^at  mid^  toieber  ! 

6^or  ber  ^linger. 
785  £>at  ber  Segrabene 

©c^on  fid;  nafy  oben, 

Sebenb  ©r^abene, 

^errlidj  er^oben; 

3ft  er  in  2BerbeIuft 
790  <Sc§affenber  ^reube  na^>  ; 

2ldj  !  an  ber  @rbe  Sruft 

@inb  h)ir  gum  Seibe  ba. 
er  bie  ©cinen 


795  2tc^  !  iuir  betoeinen, 

gjietfter  bein  ©luc!  ! 

Gfyor  ber  ©ngel. 
(Shrift  ift  erftanben, 
3(u§  ber  SSern)efung 
Steifcet  Don  23anben 
800  greubtg  euc§ 


38  gonfl.    ®rfter 


£b,attg  ttm  pretjenben, 

Stebe  betoeifenben, 

S3rtiberlt^  tyeifenben, 

^rebtgenb  reifenben, 

SBonne  i>er^ei§enben  805 

@urf>  tft  ber  gjleifter  nab,, 

@ucb,  ift  er  ba ! 


SSor  bem 


©pajierganger  alter  21  r  t  jiefjen  f)inau«. 


©inige 
SBarum  benn  bort  fyinauS? 

Slnbre. 
2Bir  gefyn  ^)tnau§  auf'§  ^ager^auS. 

5D  i  c  e  r  ft  e  n. 
810       2Bir  aber  tooHen  nad^  ber  SJiUfyle  inanbem. 

©in  §anbtoer!§burfc|. 
^c^  ratij'  euc^  nad^)  bem  SSaffer^of  511  gefyn. 

3  to  e  1  1  e  r. 

S)cr  2Beg  ba^in  ift  gar  nid^t  fcfyon. 
2)ie  jtoeiten. 


@tn  britter. 

3$  ge^e  mtt  ben  anbern. 

S3  i  e  r  t  e  r. 

33urgborf  fommt  fyerauf,  getoi^  bort  finbet 
815       3)ie  fd^onften  SRdbc^en  unb  bag  Befte 
Unb  §anbel  toon  ber  erften  ©orte. 


40  gaujl.    (Srfter 


3?  it  n  f  t  e  r. 

tiberluftiger  ©efell, 

bid;  §um  brittenmal  ba§  $eH? 
mag  nid;t  fyin,  mir  graut  e§  Dor  bem  Drte. 

2)  i  e  n  ft  m  a  b  d;  e  n. 
,  nein  !  id^  gefye  nad;  ber  Stabt  jiiriicf  .  820 

2lnbre. 
SKir  finben  i^n  getotfj  bet  jenen  ^a^eln  fte^en. 

@  r  ft  e. 

SDa§  ift  fiir  mid;  !ein  gropes  ©lucf  ; 
6r  toirb  an  beiner  (Seite  gefjen, 
•JJlit  bir  nur  tanjt  er  auf  bem  ^plan. 

ge{>n  mid;  beine  ^reuben  an  !  825 

3lnbre. 

ift  er  ftd;er  md;t  attein, 
S)er  ^rauSlo^f,  fagt  er,  toitrbe  bei  i^m  fein. 

<3  d;  ii  I  e  r. 

SBIt^,  ioie  bie  toadern  Sirnen  fd;reiten  ! 

§err  S3ruber,  !omm  !  n)ir  miiffen  fie  begleiten. 

©in  ftar!e§  33ier,  ein  fceijenber  ^tobad,  830 

Unb  eine  SOtagb  im  ^5u^  ba§  ift  nun  mein  ©efd;mad. 

33iirgermabd;en. 

3)a  fie^>  mir  nur  bie  fd;6nen  ^naben  ! 

(Sg  ift  toafyrfyaftig  eine  (2d;mad;  ; 

©efettfd;aft  fonnten  fie  bie  atterbefte  ^abenx 

Unb  laufcn  biefen  5Rdgben  nad;  !  835 


SSor  bem  £Ijor.  41 

3  h)  e  i  t  e  r  ©filler  gum  erften. 

9iicf)t  fo  gefcfytoinb  !  bort  fyinten  !ommen  jtoei, 
<5te  finb  gar  nieblicfy  angejogen, 
'§  ift  meine  -Jiacfybarin  babet  ; 
$d)  bin  bem  SRa'bcfyen  fefyr  getoogen. 
840  ©ie  gefyen  i^ren  fttUen  ©d^rttt 

Unb  nefymen  un§  bod^  aud;  am  Snbe  mit. 

6  r  ft  e  r. 

§err  Sruber,  nein  !    $$  bin  ntd^t  gern  gentrt. 
©efc^toinb  !  ba^  hnr  ba§  SSilbpret  nicf)t  berlieren. 
3)ie  §anb,  bte  <Sam§tag§  i^ren  S3efen  fii^rt, 
845  SBirb  ©onntag^  bicfy  am  beften  carefftren. 

33  ii  r  g  e  r. 

Sftein,  er  gefattt  mir  ntc^t  ber  neue  Surgemeifter  ! 
S^un,  ba  er'g  tft,  toirb  er  nur  taglia^  bretfter. 
Unb  fiir  bte  <5tabt  toa§  t^ut  benn  er? 
2Birb  e§  ntd^t  atte  Xage  f  glimmer? 
850  ©e^ord^en  fott  man  mefyr  al§  immer, 

Unb  5afylen  me^>r  al§  je  border. 


Settler  ftngt. 

%fy  guten  §errn,  ifyr  fd;onen  grauen, 
<So  too^Igepu^t  unb  barfenrotfy, 
Selieb'  e§  eucf)  midj  ansit 
855  Unb  febt  unb  milbcrt  meine 

er  mtd^)  md;t  bcrgeben§  leiern  ! 
ber  ift  frob,  ber  gebcn  mag. 
Gin  Stag  ben  aUe  9Jienfd)cn  fciern, 
Gr  fei  fiir  mid?  ein  Grntetag. 


42  gaitfl.    (Srfter 


21  n  b  r  e  r  Surge  r. 

SefferS  toeifj  id)  mir  an  6onn=  unb  $eiertagen,      860 
2ll§  ein  ©efprad)  toon  $rieg  unb  ®rieg§gefd)rei, 
2Benn  fyinten,  toeit,  in  ber  Sitrfei, 
©ie  SSoIfer  auf  einanber  fd)Iagen. 
Sftan  ftefyt  am  ^enfter,  trin!t  fern  @Ia§cfyen  au§ 
Unb  fie^t  ben  glufe  ^inab  bie  bunten  @d)tffe  gletten  ;         865 
©ann  fe^rt  man  StbenbS  frof)  nad^  §au§, 
Unb  fegnet  $rieb'  unb  ^rteben§jeiten. 

©titter  Surge  r. 
£err  3fiac§bar,  ja  !  fo  Ia^  ic^'§  aud;  gefdjefm, 
@ie  mbgen  ftrf>  bie  $d:pfe  f^alten, 

atte§  burc^einanbergei)n  ;  870 

nur  ju  £>aufe  bletb'§  bei'm  Sllten. 

21  1  1  e  jix  ben  SSiirgermabc^en. 
@i  !  toie  gepu^t  !  ba§  fa^one  junge  Slut  ! 
2Ber  fott  fid)  nic&t  in  eud)  bergaffen  ?  - 
9?ur  nia-it  fo  ftolj  !    @§  ift  f  d)on  gut  ! 
Unb  toag  iljr  toiinfd)t  bag  toii^t'  id)  toofyl  ju  fd)affen.         875 

Surgermabd)en. 
2lgatf>e  fort  !  id)  ne^me  mid)  in  2ld)t 
^Jiit  fold)en  £er.en  offentlid)  gu  ge^en  ; 
@ie  lie^  mid)  jtoar,  in  ©anct  2lnbrea§ 
©en  !iinft'gen  Siebften  leiblid)  fel)en  — 

©ie  2tnbre. 
5Dflir  jeigte  fie  i^n  im  ^rijftaff, 
©olbaten^aft,  mit  mefyreren  23ern)egn«n  ; 
^d)  fef)'  mid)  urn,  id)  fud)'  i^n  liberal!, 
2lIIein  mir  tuitt  er  nid)t  begegnen. 


SSor  bem  £I)or.  43 


©olbaten. 


33urgen  tnit  b,ob,  en 

885  5Kauern  unb  ,3innen, 

Sftdbcfyen  mit  ftoljen 
£6b,nenben  ©innen 

id)  getoinnen! 
,n  ift  ba§  ^iiben, 
890  §errltd^  ber  So^n  ! 

Unb  bte  STrom^ete 
Saffen  toir  luerben, 
2Bie  ju  ber  ^reube, 
(So  jum  SSerberben. 

895  S)a§  ift  ein  ©tiirmen  ! 

®a§  ift  ein  Seben  ! 
9J?dbd^en  unb  SSurgen 
3Ruffen  fid)  geben. 
^n  ift  ba§  ^mu^en, 

900  ^eulid^  ber  Soljn  ! 

Unb  bie  ©olbaten 
3ie^en  babon. 

^auft  unb  SBagner. 


SSom  ©fe  befreit  fmb  ©trom  unb 
Quid)  be§  grub,  Iing§  b^olben  belebenben  33Ii(f  ; 
905       3m  ^ale  griinet  £offnung§=©Jiicf  ; 
35  er  alte  2Sinter,  in  feiner  ©cfytoarfje, 
3og  fid^)  in  raub,e  Serge  juritd. 
3Son  border  fenbet  er,  flie^enb,  nur 


44  gaufh    (Srfter  £tjeil. 

DI;mmdd;tige  ©djauer  lorntgen 

$n  ©treifen  itber  bie  griinenbe  $Iur ;  910 

2lber  bie  ©onne  bulbet  fein  2Beij$e§, 

UberaH  regt  ficb,  23ilbung  unb  ©treben, 

2lHe«§  toitt  fie  mit  ^arben  beleben ; 

!Dod:>  an  S3Iumen  fe^It'g  im  9f ebier, 

@ie  nimmt  ge|)ii^te  SRenfd^en  bafur.  915 

^ef)re  bic^)  um,  toon  biefen  §ob,en 

ber  <Stabt  juriicf  gu  fe^en. 
bem  I;o^Ien  finftern  2:i)or 
em  bunte§  ©etoimmel  ^erbor. 

fount  fid;  fyeute  fo  gern.  920 

@ie  feiern  bie  2luferfte{)ung  be§  ^errn, 
2)enn  fie  finb  felber  auferftanben, 
2Tu§  niebriger  ^)dufer  bumpfen  ©emcid^ern, 
3(u§  §anbtoer!§=  unb  ©en)erbe3=33anben, 
2lu§  bem  2)rudE  toon  ©iebcln  unb  ^dd^ern,  925 

2lul  ber  (Strajjen  quetfdgenber  (Snge, 
2lu§  ber  ^ircfyen  e^rtoiirbiger  3^ac^t 
@inb  fie  atte  an'§  Sid^t  gebrad^t. 

nur,  fiei) !  toie  be^enb  fic^  bie  5Renge 

bie  ©drten  unb  fttlbw  jerfc^Idgt,  930 

2Bie  ber  glu^,  in  33reit'  unb  Sdnge, 
(So  manc^en  luftigen  9iad)en  beioegt, 
Unb  bi§  gum  (Sinfen  iiberlaben 
©ntfernt  fidp  biefer  le^te  ^ai>n. 
(Selbft  bon  be§  S3erge§  fernen  ^Bfaben  935 

SBIinlen  un§  farbige  ^leiber  an. 
£5$  ^ore  fd^on*be§  ®orf§  ©etummel, 
$ier  ift  beg  SSoIfe§  ica^rer  £>tmmel, 
^ufrieben  jaud)get  ©ro^  unb  $lein : 
|>ier  bin  ic^>  Sftenfcfy ,  ^ier  barf  ic^'g  fein !  940 


aSor  bem  2^or.  45 

28  a  g  n  e  r. 

3Jiit  eut^,  £err  Sector,  311  fpajteren 
3ft  efyrenboH  unb  ift  ©etoinn  ; 
SDocf)  iuiirb'  id)  mrf)t  attetn  mid)  fyer  berlteren, 
28etl  id^  ein  g^inb  toon  attem  Stolen  bin. 
945  3)a§  giebeln,  ©c^reien, 

3ft  mir  ein  gar  fcerfyafcter 
<3ie  toben  i»ie  bom  bofen  ©etft  getrieben 
Unb  nennen'S  greitbe,  nennen'S  ©efang. 

33  a  u  e  r  n  unter  ber  Sinbe. 
unb  ©efang. 


©deafer  ^te  ftd§  jum 
950  Wit  bunier  lyacfe,  23anb  unb 

(Scf)mu(f  tear  er  angejogen. 
©d^on  um  bie  Sinbe  tear  e§  boH  ; 
Unb  aHe§  tanjte  fc^on  lt»ie  toff. 


955 

@o  ging  ber  $iebelbogen. 

@r  briirfte  ^aftig  fid^  fyeran, 
2)a  ftie^  er  an  ein  SRtibcfyen  an 
3Kit  feinem  GHenbogen  ; 
960  2)ie  frifc^e  £irne  fei>rt'  ftd^  um 

Unb  fagte  :  nun  bas  finb'  ia)  bumm  ! 


©eib  nia^t  fo  ungejogen. 


46  gaitfl.    (Sifter  £f)eit. 


fyurtig  in  bem  ®reife  ging'S,  965 

©ie  tanjten  red)t§,  fie  ianjten  lin!3, 
Unb  atte  9ifa'de  flogen. 
©ie  tourben  rotfy,  fie  tourben  ftmrm 
Unb  rufyten  at^menb  2lrm  in  2lrmx 
^uc^^e  !  ^ud^e  !  970 

gud^^eifa  !  §eifa  !  §e  ! 
Unb  £uft'  an  ©Ilenbogen. 

Unb  t^>u'  mir  bod)  nid)t  fo  bertraut  ! 

2Bie  mand)er  ^at  nid)t  feine  SBraut 

S3etogen  unb  betrogen!  975 

@r  fd;meid;elte  fie  bod;  bei  ©etf 

Unb  toon  bet  Sinbe  fd;ott  e§  ioeit  : 


©efdjrei  unb  giebelbogen.  980 


2llter  33auer. 

doctor,  ba§  tft  fd;bn  toon  eud), 

i^r  un§  ^eute  nidjt  t>erfd;md^t, 
Unb  unter  biefeS  SSoIfSgcbrang', 
2llg  ein  fo  §od;gela^rter,  gefyt. 
@o  nef>met  aud)  ben  fdjonften  ^rug,  985 

h)ir  mit  frifd)em  Strunl  gefiiHt, 
bring'  ifyn  ju  unb  n)iinfd)e  laut, 

er  nid)t  nut  ben  S)urft  eud;  ftifft  ; 
$>ie  3^1  ^e^  Xro^fen,  bie  er  fyegt, 
©ei  euren  Xagen  jugetegt.  990 


SSor  bem  £f)or.  47 


gfauft. 

3$  nefmte  ben  GrquidEung^Sranf, 
©rtoibr'  eu$  affen  §eil  unb  2)anf. 

3)  a  8  33  o  1  1  famtneft  ftd)  int  $rei«  utnljer. 

2llter  33  auer. 
gurtoafyr  e§  ift  fe^r  too^I  get^an, 
3)ajj  i^r  am  frozen  Sag  erfcfyetnt  ; 

995  §abt  i^r  e§  bonnal§  bod^  mit  un§ 

2ln  bofen  Sagen  gut  gemeint  ! 
©ar  manner  fte^t  lebenbtg  fyier, 
3)en  euer  3Sater  nod^  gule^t 
2)er  ^et^en  ^iebertout^  entri^, 

1000         21I§  er  ber  ©eud^e  £\tl  gefe^t. 

2tuc^>  bamals  i^r,  ein  junger  9Jiann, 
^5^r  gingt  in  jebe§  ^ran!en^au§, 
©ar  mand^e  Seiche  trug  man  fort, 
^i>r  aber  lamt  gefunb 

1005         Seftanbet  manege  ^arte 

35em  §elfer  ^alf  ber  £elfer  broben. 

211  1  e. 

©efunb^eit  bem  betoafyrten  9Jiann, 
er  nod^  lange  ^elf  en  lann  ! 


3Sor  jenem  broben  fte^t  gebiicft, 
ioio         2)er  ^elfen  le^rt  unb  §UI 

(Sr  ge^t  mit  23  a  g  n  e  r  n  toeiter. 

2B  a  g  n  e  r. 

2BeIc^  ein  ©efii^I  mu^t  bu,  o  grower  SJiann, 
S3ei  ber  3SereF>rung  biefer  2Renge 


48  gaujh    Srfter  EIjeiL 

D  glutflirf),  toer  t>on  feinen  ©afcen 
(Sold)  einen  $ortl)eil  jiefyen  !ann  ! 
$Der  SSater  jeigt  bid;)  feinem  ®na&en,  1015 

@in  jeber  fragt  unb  brangt  unb  eilt, 
3)ie  giebel  ftodt,  ber  3^dnjer  toetlt. 
2)u  ge^ft,  in  3ftei^en  ftefyen  fie, 
25ie  9J(ii^en  fliegen  in  bie  §ot>'  : 

Unb  toenig  fef)It,  fo  beugten  fid;*  bie  $nie,  1020 

lam'  ba§  33enerabite. 


tuenig  <5d)ritte  nod;  f)inauf  ju  jenem  <5tein, 
§ier  h)oEen  h)ir  bon  unfrer  2Banbrung  raften. 
§ier  fa§  id)  oft  gebanfenbott  attein 
Unb  qualte  mid;  mit  33eten  unb  mit  ftaften.  1025 

2(n  ^offnung  reid),  im  ©lauben  feft, 
9Jiit  £l)ranen,  ©eufjen,  ^anberingen 
S)ad)t'  id)  ba§  @nbe  jener  ^Seft 
SSom  §errn  be§  ^>immel§  511  erjtoingen. 
S)er  SRenge  33eifatt  tont  mir  nun  toie  §ol^n.  1030 

D  Ibnnteft  bu  in  meinem  ^nnern  lefen, 
2Bie  toenig  3Sater  unb  <5ol)n 
©old;  eine§  9tu^me§  toertl)  getcefen  ! 
2Jiein  SSater  toar  ein  bunller  @i>renmann, 

iiber  bie  9?atur  unb  if>re  fyeil'gen  ^reife,  1035 

9teblid;feit,  jebod;  auf  feine  2Beife, 
lit  grittenfyafter  9}{iil>e  fann. 
r,  in  ©efellfcfyaft  toon  2lbepten, 
(Sid;  in  bie  fd)toarje  ^iid;e  fd)Io^, 
llnb,  nad)  unenblid;en  Stece^ten,  1040 

Sibrige  jufammengo^. 


2?or  bent  Zljor.  49 

£>a  toarb  ein  rotber  Seu,  ein  fitlmer  $reter, 

$m  lauen  23ab  ber  Silie  bermafylt 

Unb  beibe  bann  mit  offnem  gtammenfeuer 
1045      ^u^  e^nem  Srautgemacb,  tn'§  anbere  gequalt. 

(Srfrfnen  barauf  mit  bunten  gatben 

35ie  junge  ^ontgin  im  ©Ia§, 

§ier  ioar  bie  2(rjenei,  bte  ^patienten  ftarben, 

Unb  ntemanb  fragte:  loer  genas? 
1050      @o  fyaben  twir  mit  ^ottifd^en  Sattoergen 

3>n  biefen  SC^dlern,  biefen  SBergen, 

SBeit  fd^Itmmer  al§  bte  ^Beft  getobt. 

^cb,  b,abe  felbft  ben  ®ift  an  iaufenbe  gegeBen, 

@ie  toelften  bin,  ic^>  mu§  erleben 
1055      SDajj  man  bte  fred^en  9Jiorber  lobt. 

2Bagner. 

SBie  !onnt  ifyr  eud^  barum  betritben  ! 
£but  nidrjt  ein  braber  9Jiann  genug, 
2)ie  ^unft,  bie  man  ifym  iibertrug, 
©eiDiffen^aft  unb  ^iinctlid9  au^uiiben? 
1060      SBenn  bu,  al§  ^tingling,  betnen  SSater  e^rft, 
<5o  toirft  bit  gern  toon  ib,m  empfangen  ; 
2Benn  bit,  al§  2Rann,  bie  SSiffenfcl^aft  berme^rft, 
(So  lann  bein  <Sob,n  ju  ^o^rem  £\d  gelangen. 


D  glii(!ltd9,  tuer  nod?  ^offen  !ann 
1065      2lu§  biefem  9Jieer  be§  ^rrtb,um§  aitfjutaud^en  ! 
2Ba§  man  nid^t  toeijj  ba§  eben  brauc^te  man, 
Unb  tua§  man  twei^  fann  man  nicfyt  brauc^en. 
2)od;  Ia^  un§  biefer  Stunbe  fd§one§  ©ut 


50  gaujl.    (Svfter 


Surety  folcty  en  SCriibfinn  nicb,  t  berfiimmern  ! 

Setracfyte  tote  in  2(benbfonnes©tut^  1070 

®ie  griinumgebnen  £>iitten  fcfyimmern. 

6ie  riiclt  unb  toeicfyt,  ber  £ag  ift  itberlebt, 

Sort  eilt  fie  fyin  unb  forbert  neue§  Seben. 

D  bafj  lein  ^litgel  mid^  bom  Soben  ^ebt, 

^5^r  nad^  unb  immer  nad)  gu  ftrcben  !  1075 

I^d)  fa^'  im  etoigen  Slbenbftra^I 

©ie  ftitte  SSelt  ju  tneinen  ^u^en, 

©ntjiinbet  aEe  §o^n,  beru^igt  jebe§  ^^al, 

Sen  ©il&erbad)  in  golbne  ©trome  flie^en. 

9?idjt  i>emmte  bann  ben  gottergleic^en  Sauf  1080 

Ser  toilbe  Serg  mit  aHen  fetnen  (Sc^Iuc^ten  ; 

<5c6,on  tb,ut  ba§  3Jleer  fic^  mit  ertoarmten  Sudeten 

SSor  ben  erftaunten  Stugen  auf. 

Soc^)  fd^eint  bie  ©ottin  enblic^  toegjufinfen  ; 

2lffein  ber  neue  Xrieb  ertoad^t,  1085 

$cf)  eile  fort  i^r  eto'geS  Sid^t  ju  trinlen, 

SSor  mir  ben  Xag  unb  ^inter  mir  bie  9iac&,t, 

Sen  §immel  iiber  mir  unb  unter  mir  bie  2Betten. 

@in  fd^oner  ^raum,  inbeffen  fie  enttoeidjt. 

2ld^  !  ju  be§  ©eifteg  glugeln  toirb  fo  leicfyt  1090 

^ein  forberlid^er  $liigel  fic^  gefeEen. 

Soc§  ift  e§  jebem  eingeboren, 

Sa^  fein  ©efitfyl  ^inauf  unb  borh)art§  bringt, 

SBenn  iiber  ung  im  blauen  9taum  berloren, 

^TC  fd^metternb  Sieb  bie  Sercb,  e  fingt  ;  1095 

2Benn  iiber  fc^roffen  gid^tenb,  51>en 

Ser  2lbler  auggebreitet  fd^tuebt, 

Unb  itber  gladjen,  iiber  (Seen, 

Ser  ^ranid^  nacfy  ber  §eimat^  ftrebt. 


SSor  bent  Sljor.  51 

2B  a  g  n  e  r. 

l)atte  felbft  oft  griHenfyafte  6tunbcn, 
fold)en  Strieb  Ijab'  id)  nod)  me  empfunben. 
fiefyt  fid)  leid)t  an  SSalb  unb  ftelbern  fatt, 
3SogeI§  gittid;  toerb'  id^»  nie  beneiben. 
2Bie  anber§  tragen  un§  bie  ©eifteSfreuben, 

1105      ^3°"  ^"^  5U  ®u^/  bon  ^Iatt  Su  ^Iatt ! 
5)a  toerben  2Btnternad^te  fyolb  unb  fd^on, 
Gin  felig  2eben  toarntet  aHe  ©Iteber, 
Unb  ad) !  entroHft  bu  gar  ein  toiirbig  ^ergamcn, 
(So  fteigt  ber  ganje  ^tmrnel  511  bir  nieber. 

gfauft 

1 1 10      jDu  btft  bir  nur  be§  einen  ^rieb§  beftwfct ; 

D  lerne  nie  ben  anbern  f  ennen ! 

3h)ei  ©eelen  h)o^>nen,  ad; !  in  meiner  S3ruft, 

S)ie  eine  toitt  fid)  ban  ber  anbern  trennen ; 

3)ie  eine  I)  alt,  in  berber  2iebe§luft, 
1115      ©id)  an  bie  28elt  tnit  flammernben  Drganen ; 

S5ie  anbre  ^ebt  geiualtfam  fid)  bom  2)uft 

3u  ben  ©efilben  ^o^er  Sl^nen. 

D  gibt  e«  ©eifter  in  ber  2uft, 

®ie  jh)ifd)en  Srb'  unb  §immel  berrfd;enb  toeben, 
1120     @o  fteiget  nieber  au§  bem  golbnen  2)uft 

Hub  fiifyrt  mid)  h)eg,  gu  neuem  buntem  Seben ! 

^50,  toare  nur  ein  3^ubennantel  mein ! 

Unb  triig'  er  mid)  in  frembe  2anber, 

3Rir  follt'  er  um  bie  foftlidfyften  ©etocinber, 
1125     yiifyt  feil  um  einen  $6nig<omantel  fein. 

23  a  g  n  e  r. 

Serufe  nid)t  bie  toofylbefannte  (Sd)aar, 
35ie  ftromenb  fid)  im  IDimftfreiS  iiberbrei+et, 


52  ftcmft.    ©rflci  Xfyil 

©em  -Iftenfcfyen  taufenbfd'Itige  ©efafyr, 
SBon  alien  Snben  b,er,  bereitet. 

23om  9Jorben  bringt  ber  fd^arfe  ©eifterjafyn  1130 

3iuf  bicb,  fyerbei,  mtt  pfeilgefpi|ten  $ungen  ] 
SSon  SRorgen  gtef>n,  fcertrocfnenb,  fie  f>eran, 
Hnb  naf)ren  ftd^)  toon  beinen  Sungen  ; 
SBenn  fie  ber  SWittag  au§  ber  2Biifte  fd)i(ft, 
S)ie  ©lut^  aitf  ©Iutf>  urn  beinen  ©c^eitel  fyaufen,  1135 

<So  bringt  ber  SBeft  ben  (Sd^toarm,  ber  erft  erquitft, 
Um  bic^  unb  ^elb  unb  3(ue  ju  erfaufen. 
<3ie  fyoren  gern,  gum  <Sc^aben  frof>  getoanbt, 
©e^orc^en  gern,  tueil  fie  un§  gern  betriigen, 
@ie  ftetten  toie  bom  ^immel  fic^  gefanbt,  1140 

Unb  lifpeln  englifd^,  toenn  fie  liigen. 
©od^  geJ)en  toir  !    (grgraut  ift  fc^on  bie  SSelt, 
SJie  Suft  gelu^It,  ber  »el  fdttt! 
2lm  Slbenb  fd^d^t  man  erft  ba§  §au§.  — 
28a§  fte^ft  bu  fo  unb  blicfft  erftaunt  ^)inau§?  1145 

fann  bid^  in  ber  ©d'mmrung  fo  ergreifen? 


gauft. 
@iel)ft  bu  ben  fd§h)argen  §unb  burd^  @aat  unb  ©toppel  ftretfen? 

9B  a  g  n  e  r. 
^d§  fab,  ifyn  lange  fd^on,  nid§t  hncfytig  fc^ien  er  mir. 

^auft. 
SBetracb,  t'  i^n  rec^t  !    gur  toa§  b,  a  lift  bu  ba§  ^  ier  ? 

2B  a  g  n  e  r. 

$iir  einen  ^Subel,  ber  auf  feine  SBeife  1150 

©tcb,  auf  ber  <5^ur  be§  £erren  ptagt. 


SSor  bent  S^or.  53 

§  a  u  ft. 

Semerfft  bu,  lute  in  toettem  <2d)nerfen!reife 
@r  um  un§  fyer  unb  tmtner  nafyer  jagt? 
Unb  irr'  id)  nid)t,  fo  jiefyt  ein  geuerftrubel 
2luf  feinen  ^faben  ^mterbrein. 

2B  a  gner. 

^d^>  f  efye  nic^)t§  al§  einen  f  cfytoarjen  $ubel  ; 
6§  mag  bei  eud;  too^l  2lugentaufcf)ung  fein. 

Sauft. 

2Rir  fd^etnt  e§,  ba^  er  magif$  leife  ©d^Iingen 
3u  fitnft'gem  Sanb  um  unfre 


SS  a  g  n  e  r. 

1160     ^d;  fe^)'  ifyn  ungetoi^  unb  furd;tfam  un§  umfyrmgen, 
2BeiI  er,  ftatl  feine§  ^perrn,  jtoei  Unbefannte  jte^t. 


3)er  ^rei§  n)irb  eng,  fd;on  ift  er  nafy  ! 
SS  a  g  n  e  r. 

£>u  fte^ft  !  ein  §unb,  unb  lein  ©efyenft  ift  ba. 
(gr  fnurrt  unb  jtoetfelt,  legt  fid;  auf  ben  33aud;, 
1165      @r  toebelt.    2lEe§  §unbe  Sraud;. 

ftauft. 
©efelle  bid;  ju  un§  ! 


2B  a  g  n  e  r. 

ift  ein  ^ubelna'rrifd;  ST^ier. 
ftebeft  ftitt,  er  toartet  auf  ; 
f^»rid;ft  i^n  an,  er  ftrebt  an  bir  ^inauf  ; 


54  goujl.    (Srfter  Xfjeit. 

SSerltere  few?,  er  Itrirb  e§  Bringen,  1170 

beinem  ©tod  in'3  SBafjer  fpringen. 


tool;)!  9ted:)t  ;  id^>  finbe  nicfyt  bte 
SSon  einem  ©eift,  unb  aEe§  ift  S)reffur. 

SOB  a  g  n  e  r. 

3)em  §unbe,  iuenn  er  gut  gegogen, 
SSirb  felbft  ein  toeifer  3Jiann  getoogen.  1175 

^a,  beine  ©unft  berbient  er  gan^  unb  gar, 
@r  ber  6tubenten  trefflidjer  ©colar. 
@ie    een  in  b 


©tubtrgtmmer. 


5  Cl  U  ft  mit  betn  $  n  b  e  I  Ijereintretenb. 

gfattfr 

SSerlaffen  ^ab'  id?  gelb  unb  2luen, 
£>ie  eine  tiefe  -ftacfyt  bebecft, 


1180  9Kit  afynung§toottem  fyeil'gem  ©rauen  -^ 

^n  un§  bie  beffre  Seele  tocdft.  |^LO^ 

(Sntfdjlafen  fmb  nun  toilbe  Xriebe, 
9Jiit  jebem  ungeftiimen  2:^un  ; 
6<l  reget  fid^  bie  SRenfd^enliebe, 

1185  2)ie  Siebe  ©otte§  regt  ftcfy  nun. 

©ei  ru^ig  ^ubel  !  renne  ntd&t  ^in  unb  tmeber  ! 
2ln  ber  (Sc^toeHe  toa§  f4)noj)er[t  bu  ^ier? 
Sege  bicfy  ^tnter  ben  Dfen  nieber, 
2Jtetn  befteg  ^iffen  geb'  td&  bir. 
1190-       2Bte  bu  brau^en  auf  bem  bergigen  SBege 

SDurc^  SRennen  unb  ©^ringen  erge^t  un§  Ijiaft, 
(So  nimm  nun  aud^  toon  mir  bie 
21I§  ein  hnflfommner  ftitter  ©aft 


2Cd^  toenn  in  unfrer  engen 
1195  £)ie  Sam^e  freunblirf>  toieber  brenn^ 

3)ann  toirb'S  in  unferm  33ufen  ^eHe, 
,  ba§  fid)  felber  !ennt. 

(55) 


56  ftauft.    (Srfter 


SSernunft  fangt  toieber  an  gu  fpredjen, 

Unb  £>offnung  toieber  an  511  bliifyn  ; 

3Jian  fefynt  ficfy  narf)  be§  8eben§  33a$en,  1200 

2ldj  !  nacf)  be§  2eben§  QiteUe  fn'n. 

^nurre  nid^t  ^ubel  !    3U  ^en  ^eiligen  Xonen, 

SDie  je|t  metne  ganje  ©eel'  umfaffen, 

2BIH  ber  t^terifd^e  Saut  nicfyt  ^affen. 

SBir  ftnb  getoo^nt,  bafj  bieJJienfd^en  tier^o^nen  1205 

fie  nidpt  berftel;n, 

fie  toor  bem  ©uten  unb  ©d^onen, 

if>nen  oft  befogtoerli^  ift,  tnurren  ; 

e§  ber  §unb,  it>ie  fie,  befnurren  ? 


2lber  ad^  !  fc^on  fii^P  icfy  bei  bem  beften  3BiHe'n,          1210 
Sefrtebtgung  ntdit  mef)r  au§  bem  S3ufen  quiffen. 
2lber  toarum  mitfj  ber  ©trom  fo  balb  berfiegen, 
Unb  loir  toieber  im  SJurfte  Itegen  ? 
2)abon  ^ab'  icfy  fo  biel  (Srfa^rung. 
3)od9  biefer  SJtangel  Ici^t  fic^  erfe^en,  1215 

2Sir  lernen  ba§  Uberirbtfc^e  fd?a|en, 
2Bir  fe^nen  un§  nad?  Dffenbarung, 
2)ie  nirgenb§  toiirb'ger  unb  fcfyoner  brennt, 
in  bem  neuen  ^eftament. 

brdngt'iS  ben  ©runbtejt  aufjufd^agen,  1220 

lit  reblic^em  ©efiifyl  einmal 

ijeilige  Original 
-3n  mein  geliebte§  35eutfd§  git  iibertragen. 

(Sr  fc^Iagt  ein  SSolum  auf  unb  fdjicft  ftc^  an. 

©efd^rieben  ftc^t  :  nim  2lnfang  tear  ba§  9S  o  r  t  !" 

§ier  ftod'  id^  fd^on  !    2Eer  ^tlft  mir  hxiter  fort?         1225 


©tubirgimmer.  57 

3>d?  lann  bag  2S  or  t  fo  b,od?  unmoglid?  fd?a£en, 
3>d?  mufj  eg  anberg  iiberfeijen, 
2Benn  id?  bom  ©eifte  red?t  erleud?tet  Bin. 
©efdferieben  ftefyt:  im  Slnfang  tnar  ber  (3  inn. 
1230     SBebenfe  toofyl  bie  erfte  3>t\le, 

beine  $eber  ftd^  ni(^t  iibereile  ! 
eg  ber  Sinn,  ber  atfe§  toir!t  unb  fd^afft? 
fotttc  fte^n  :  im  Slnf  ang  toar  bie  ^  r  a  f  t  ! 

ud&  inbem  id^  biefe§  nieberfc^reibe, 
1235      ©d^on  toarnt  mid?  toa§,  ba^  id?  babei  nicfyt  bleibe. 
gjitr  Pft  ber  ©eift  !    9luf  einmal  fe^'  id?  JRat^ 
Unb  fd?reibe  getroft  :  im  2tnfang  tnar  bie  $£  ^  at  ! 


id?  mit  bir 
l,  fo  lafe  b 
1240     @o  lafe  ba§ 

©old?  einen  ftorenben  ©efeHen 

2Rag  id?  nid?t  in  ber  9?ab,e  leiben. 

(Siner  toon  un§  beiben 

2Ru|  bie  3ctte  meiben. 
1245     Ungern  b,eb'  id?  ba§  ©aftred?t  auf, 

©te  2^)Ur  ift  often,  fyaft  freien  Sauf. 

3lber  tca§  mu§  id?  f  efyen  ! 

^anu  ba§  natiirlid?  gefd?eb,en? 

3ft  eg  ©d?atten?  ift'g  2SirlIid?feit? 
1250     2Bie  toirb  mein  $ubel  lang  unb  breit  ! 

@r  ^ebt  fid?  mit  ©eiralt, 

®ag  ift  nid)t  eineg  ^unbeg  ©eftalt  ! 

SSeld?  ein  ©efpenft  brad?t'  id?  in'g 

©d?on  fteb^t  er  tt>ie  ein  -fttfyferb  aug, 
1255     3Jiit  feurigen  2lugen,  fd?rec!Iid?em 


58  gaufl     (Srfter  fcljetl. 


D  !  bu  bift  mir  getoifj  ! 
$ur  foldbe  fyalbe  £>ottenbrut 
8ft  ©alomoniS  @rf)Iuffel  gut. 

©  e  i  ft  e  r  auf  bent  ©ange. 
Srinnen  gefangen  tft  etner  ! 
Sleibet  ^aufeen,  folg'  i^m  !etner!  1260 

2Bie  im  ©ifen  ber  %u.<fy% 
ein  alter  §6ttenludj§. 


fytn,  fc^iuebet  iuieber, 
2luf  unb  nteber,  1265 

Hnb  er  ^at  ficfy  Io§gemad^t. 

i^r  t^m  ttii^en, 

fjn  nic^t  fi|en  ! 
25enn  er  t^at  un§  alien 
<Sa)on  biel  ju  ©efaffen.  1270 


@rft  ju  begegnen  bem 

33raud/  id)  ben  6prucfy  ber  3Stere 


©alamanber  foU  gluten, 
Unbene  fid^  toinben, 

berfc^lDtnben,  1275 

fi(^)  mii^en. 


2Ber  fie  nic^t  lennte 
S)ie  ©lemente, 


Unb  (Sigenfcfyaft,  1280 

SBare  fein  g«eifter 
liber  bie  ©etfter. 


©tubirjiimner.  59 


n 

©alamanber  ! 

1285  Staufdjenb  fliefje  jufammen 

Unbene  ! 
in 


Sring'fyauSlicfye  £wlfe 
1290  Incubus  !  incubus  ! 

Xritt  fyerbor  unb  mad^e  ben  ©djlujj. 


ber  SSiere 
©tedEt  in  bem 
©i  liegt  ganj  ruf)ig  unb  grinf  t  mid^  an  ; 

I29S  ^5^  ^a^'  ^m  noc^  n^*  ^e^  get^an. 

2)u  fottft  mic^  ^oren 
©tarfer  6ef$tooren. 

Sift  bu  ©efeUe 
©in  gliid^tling  ber 
1300  ©o  ftefy  bie^ 

2)em  fte  ftti)  beugen 
S)ie  fd^toarjen  ©cfyaaren. 


©d^on  fd^toiHt  e§  auf  mit  borftigen  §aaren. 

SerloorfneS  2Befen  ! 

1305  $annft  bu  if?n  lefen  ? 

3)en  nie  ©ntf^rofj'nen, 
UnauSgefprodjnen, 

atte  ^immel  ©egoff'  nen 
X>urd^ftoc§nen  ? 


60  gcmft.    (grfter  Sljeit. 


Winter  ben  Dfen  gebannt  1310 

©dfjtoiHt  e§  ftne  ein  ©lebfyant, 

3)en  ganjen  9?aitm  fiiUt  e3  an, 

@§  tottt  jum  sjiebel  jerfliejjen. 

©tetge  nicfyt  jur  2)ec!e  fyinan  ! 

Sege  bi4)  311  be§  2Reifter§  gu|en  !  1315 

2)u  fiefyft  ba|  ic^  nid^t  bergebenS  brofye. 

^d^  berfenge  bic^  mit  fyetliger  £ol?e  ! 

Grtoarte  ntc^t 

3)a§  bretmal  glii^enbe  Sic^t  ! 

©rtvarte  nid^t  1320 

2)tc  ftar!fte  bon  metnen  ^iinften  ! 

top^ele«  tritt,  inbem  ber  ^eBel  fattt,  gefletbet  tt>ie  ein  fal)> 
renber  ©^olafticuS,  Ijinter  bem  Ofen  ^evoor. 


SBoju  ber  Sarm?  ioa§  fte^t  bem  £errn  511  S)tenften? 

Sail  ft. 

SDa§  alfo  tuar  be§  ^itbelS  £ern  ! 
@in  fal)renber  ©colaft  ?    SDer  6afu§  mad^t  mic^  lacfyen. 

m  e  i)  ^  i  ft  o  $  f)  e  I  e  8. 

$cfy  falutire  ben  gele^rten  §errn  !  1325 

^5^r  ^abt  mid^)  ioeiblid^  fcfytoitjen  madden. 


2Bie  nennft  bu 

9Ji  e  p  ^  i  ft  o  $  $  e  I  e  3. 

£>ie  $rage  fcf>eint  mir  flein 
$iir  einen  ber  ba§  Sort  fo  fe{>r  berad^tet, 
2)er,  ioeit  entfernt  bon  atlem  ©d^ein, 
9Zur  in  ber  SBefen  Xiefe  tracfytet.  1330 


©tubirjimtner.  61 


,  iljr  £>errn,  !ann  man  ba§  UBefen 

au§  bem  3f?amen  lefen, 
2Bo  e§  ftd&  a%ibeutli3>  toeift, 
2Benn  man  eudfy  ^liegengott,  SBerberber,  Siigner 
1335  9?un  gut,  toer  bift  bu  benn  ? 


©in  2:^eil  toon  jener  $raft, 
ie  ftet§  ba§  Sofe  ioiE  unb  ftet§  ba§  ©ute  fdjafft. 


ift  mit  btefem  SRat^feltoort  gemetnt? 

3Ji  e  ^)  ^  i  ft  o  p  ^>  c  I  e  §. 
^d^  Bin  ber  ©eift  ber  ftet§  tterneint  ! 
llnb  ba§  mit  ^Red^t  ;  benn  aHe§  h)a§  entfte^t 
1340  !3ft  toert^  ba^  e§  ju  ©runbe  ge^t  ; 
2)rum  beffer  toar'S  ba^  nid^t§  entftiinbe. 
(So  ift  benn  aHe§  h)a§  i^r  (Sitnbe, 
3erftorung,  lurg  ba§  33ofe  nennt, 
•JUtein  eigentlid^eS  ©lement. 

Sauft. 
1345  ©ii  nennft  bid^  einen  Xfyeil,  unb  fte^ft  bod^  ganj  bor  mir. 

3JI  e  ^  ^  i  ft  o  ^  I)  e  I  e  §. 
33ef$eibne  2BaI>r^eit  fprec^'  id^  bir. 
SBenn  fief)  ber  3Jlenfc^,  bie  fleine  !>ftarrentoelt, 
©etro^nlid^  fur  ein  ©anjeS  ^cilt  ; 
^d^  bin  ein  Xfyeil  beg  5C^eiI§,  ber  2lnfang§  atte3  tear, 
1350  (Sin  Sfyeil  ber  ginfterni^,  bte  fid^  ba£  2ic§t  gebar, 


62  goufl.    (Srfter  Sljeil. 


ftoljc  8ie§t,  ba§  nun  ber  Gutter 
SDen  alten  -Wang,  ben  9taum  ifyr  ftreitig  ntad^t, 
Unb  bod)  gelingt'3  ifym  nidjt,  ba  e3,  fo  fciel  e§  ftrebt, 
SSer^aftet  an  ben  ^br^ern  llebt. 

SSon  ^or^ern  ftromt'g,  bie  $orper  mac^t  e§  fc^on,  1355 

@tn  ^or^er  ^emmt'§  auf  fetnem  ©ange, 
©o,  ^off'  \fy,  bauert  e§  ntd^t  lange 
Unb  mit  ben  ®orpern  h)irb'§  #}  ©runbe  gefyn. 


5  a  u  ft. 

!enn'  id^)  betne  h)iirb'gen  ^Bf 
2)u  !annft  im  ©ro^en  ntc^t§  bernic^ten,  1360 

Unb  fcingft  e§  nun  im  $leinen  an. 


Unb  freiltcfy  ift  nid^t  biel  bamit  getfyan. 
9Ba§  fid^)  bem  ^itd^ts  entgegenfteflt, 
S)a§  ©tiuaS,  btefe  ^lum^e  SOBelt, 

<3o  biel  al§  id^  fd^on  unternommen,  1365 

^d;  tou^te  ntd^t  iljr  beijufommen, 
gj^it  SSetten,  ©tttrmen,  ©cfyutteln,  33ranb, 
©eru^ig  bletbt  am  (£nbe  2Reer  unb  2anb  ! 
Unb  bem  berbammten  3euS/  ^er  £fyier=  unb  3Jienfd^enbrut, 
S5em  ift  nun  gar  nicfyts  anju^aben.  1370 

•JBie  biele  ^ab'  id^  fd^on  begraben  ! 
Unb  immer  circulirt  ein  neiteS  frifa)e§  Slut. 
(So  gefyt  e§  fort,  man  mod^te  rafenb  toerben  ! 
©er  Suft,  bem  SSaffer,  toie  ber  6rben 
@nth)inben  taufenb  ^eime  fid^,  1375 

^m  Strodvnen,  ^eud^ten,  SSarmen,  fatten  ! 
§citt'  id^  mir  nic^t  bie  $Iamme  borbe^alten, 
nid;t§  2(bart§  fur  mia). 


©tubirjimmer.  63 


(So  fe^eft  bu  ber  etoig  regen, 
1380  SDer  fyeilfam  fcfyajfenben  ©etoalt 

2)ie  falte  £eufel3fauft  entgegen, 
3)ie  ftd)  toergeben§  tiicfifcfy  battt  ! 
2Ba§  2lnber§  fucfye  §u  beginnen 
GfyaoS  tounberlic^er 


3JI  e  p  ^  i  ft  o  j>  ^  e  I  e  3. 
1385  SBir  tt»oHen  toirfltcfy  un§  beftnnen, 

3)ie  ndd^ftenmale  mefyr  babon  ! 
S)urft'  td^  toofyl  bie^mal  tntc^  entfernen? 

Jfliift. 

3$  fe^e  nid^t  toarum  bu  fragft. 
!jjcfy  ^)abe  je^t  bid?  fennen  lernen, 
1390  Sefud^e  nun  mt<f>  tote  bu  magft. 

§ier  i(t  ba§  ?yen[ter,  ^ter  bie  St^iire, 
(Sin  9iaud)fang  ift  bir  aitcfy  geh)i§. 

2K  e  ^  I?  i  ft  o  ^  fy  e  I  e  3. 
©eftefy'  id?'§  nur  !  35a^  \3) 
SSerbietet  mir  ein  fleine§ 
1395  2)er  S)tubenfu^  auf  eurer  ©djtoette 


^entagramma  ntad^t  bir 
(Si  fage  mir,  bu  (Sofyn  ber 
2Benn  ba§  bi$  bannt,  tote  f  amft  bu  benn  fyerein  ? 
2Bte  toarb  ein  folcfyer  ©eift  betrogen? 


1400  SBefcfyaut  e§  red^t  !  e§  ift  nid^t  gut  gejogen  ; 


64  ftcmfh    Srfhr 


£)er  eine  2Binfel,  ber  nad)  aufjen  gu, 
3ft,  tote  bu  fiefyft,  em  toenig  offen. 

gfftuH. 

£)a§  fyat  ber  gufatt  gut  getroffen  ! 
Unb  mein  ©efangner  toarft  benn  bu? 

ift  toon  ungefafyr  gelungen  !  1405 


3JI  e  £  ^  i  ft  o  p  ^  e  I  e  g. 

2)er  ^5ubel  mer!te  nidjts  al§  er  ^ereingef^rungen, 
S)ie  ©adje  fie^t  je^t  anber§  aul  ; 
lann  nidt  au§  bem 


toarum  ge^ft  bu  nid^t  burd^'g  $en[ter  ? 


'§  ift  etn  ©efe^  ber  5TeufeI  unb  ©efyenfter  :  1410 

2Bo  fie  fyeretngefcfylityft,  ba  miiffen  fie  ^inaug. 

Srfte  fte^t  un§  frei,  bei'm  3toetten  finb  toir  ^ned^te. 

t^auft. 

§bffe  fclbft  ^at  ifyre  3flec^te? 
finb'  id^  gut,  ba  liefce  fid^  etn  $act, 
Unb  ficf>er  too^l,  mit  eud)  i^r  §erren  fd^Iie^en?  1415 

3W  e  $  $  t  ft  o  p  $  e  I  e  «. 

2Ba§  man  berf^rid^t,  ba§  follft  bu  rein  genie^en, 
!iDir  h)irb  babon  nid^tg  abgejhjadft. 
jDod^  ba§  ift  nid^t  fo  !urj  ju  faffen, 
Unb  toir  bef^red^en  ba§  gunad^ft  ; 

^o  bitt'  id),  ^od;  un5  ^od}ft,  1420 

biefeSmal  mid;  ju  entlaffen. 


©titbirjimmer.  65 


3-aujl. 

(So  bleibe  bod}  nodj  einen  Slugenblid;, 
Urn  mir  erft  gute  2J?di>r'  ju  fagen. 


!3e£t  lajj  mid?  log  !  id?  fomme  balb  juriicf  ; 
1425         3)ann  magft  bu  nad?  SBelteben  fragen. 


^(^  ^abe  bir  ntd;t  nad^gefteUt, 

Sift  bu  bod?  felbft  tn'§  ©am  gegangen. 

STeufet  ^alte  toer  i^n  ^cilt  ! 
hrirb  i^n  nid^t  fobalb  jum  jtoeitenmale  fangen. 


1430         SBenn  bir'§  beltebt,  fo  bin  \<fy  aucfy  bercit 
2)ir  jur  ©efettfd^aft  fyier  ju  bleibcn  ; 
mit  SBebingnifj,  bir  bie  3«it, 
meine  ^iinftc,  ioiirbig  gu  bertretben. 


^d?  fe^'  e§  gern,  ba§  fte^t  bir  fret  ; 
1435         -ftur  ba^  bie  $unft  gefdflig  fet  ! 


i  ft  o  p  ^  e  I  e  8. 
$)ii  toirft,  tnein  $reunb,  fiir  betne  ©innen, 
^n  biefer  (Stunbe  me^r  getoinnen, 
21I§  in  be§  ^a^re§  @inerlei. 
SBa§  bir  bie  jarten  ©eifter  fingen, 
1440         35ie  fdrionen  SBilber,  bie  fie  bringen, 
©inb  nidj)t  ein  leereg  3au^crf^e^ 
bein  ©erud?  toirb  ftd?  erge^cn, 


66  Soufl.    Softer 


hrirft  bit  betnen  ©aumen  leijen, 
Unb  bann  entgiirft  fid?  bent  ©efiib,!. 
33ereitung  braucfyt  e3  nid^t  boran,  1445 

23ei[ammen  finb  h)ir,  fanget  an  ! 
©  e  t  ft  e  r. 

<Sc^toinbet,  tfyr  bunlelit 

2BoI6ungen  broben  ! 

SRetjenber  fd^aue 

greunblic^)  ber  blaue  1450 

Sltfyer  ^erein  ! 

SSdren  bte  bunleln 

2SoI!en  jerronnen  ! 

©ternelein  funfeln, 

3JiiIbere  (Sonnen  1455 

©djetnen  barein. 


©d^luanlenbe  SBeugung 

©d()toebet  boriiber.  1460 

©efynenbe  5Reigung 

^olget  ^tniiber  ; 

Unb  ber  ©etoanber 

glatternbe  33dnber 

2)ecfen  bte  Sanber,  1465 

®ecfen  bte  2aube, 

2iBo  ftd9  fur's  Seben, 

^tef  in  ©ebanfen, 

2tebenbe  geben. 

2aube  bet  Sattbe  !  1470 

©proffenbe  9tanlen  ! 

Saftenbe  £raube 


©tubirjimmer.  67 


©turgt  in'3 
SDrangenber  belter, 

1475  (Stiirjen  in  SBadjien 

©cfyaumenbe  28eine, 
3fJiefeln  bttrcfy  reine 
@ble  ©efteine, 
Sajfen  bie  £6fyen 

1480  ^tnter  fid^  liegen, 

S3reiten  511  Seen 
@id^  um'§  ©eniigen 
©riinenber  §iigel. 
Unb  ba§  ©efliigel 

1485  ©d^Iiirfet  ftdp  ffionne, 

^Iteget  ber 
ben 

cntgegen, 
SDie  ftd^  auf  S&etten 

1490  ©aullenb  betoegen  ; 

2Bo  toir  in  G^oren 


ben  2luen 
£anjenbe  fdjauen, 

1495  3)^e  fi<^  i™  Sreien 

SlUe  jerftreuen. 
©inige  Himmen 
liber  bie  §o^en, 
2lnbere  fdjioimmen 

1500  Uber  bie  ©een, 

$nbere  fc^toeben  ; 
2ttte  jum  Seben, 
2lHe  jur 


68  $o«fl-    Srfier 


Siebenber  ©terne, 

<3eliger  £mlb.  1505 


@r  fdjlcift!     <3o  red;t,  ifyr  luff  gen,  garten  !yungen! 

3$r  fyabt  ifyn  treulid;  eingefungen  ! 

$ur  biefj  Concert  bin  id;  in  eitrer  ©d^ulb. 

2)u  bift  nod)  nid;t  ber  3Jiann  ben  5£eufel  f  eft  ju  fatten  ! 

Umgaulelt  t^n  tntt  fit^en  ^raumgeftalten,  1510 

SSerfenlt  i^n  tn  ein  SJieer  be§ 

2)od)  biefer  (Scfytoette  3^uber 

SBebarf  id;  eine§  9tattenja^n§. 

9iid)t  Icmge  braud;'  id;  ju  befd;h)5ren, 

@d;on  rafd;elt  eine  f)m  unb  toirb  fogleid;  mid)  ^oren.      1515 


|>err  ber  fatten  unb  ber  -JRaufe, 

^liegen,  ^rDfd;e,  2Bangen,  2aufe, 

t  bit  bid;  Berber  gu  toagen 
Unb  biefe  (Sd;h)ette  ju  benagen, 

©oiuie  er  fie  mit  £)l  betu^ft  —  1520 

©a  fommft  bu  fd;on  fyerborgefyupft. 
9l\vc  frifd;  an'g  SSer!  !    5)te  (Spi^e,  bie  mid;  bannte, 
<Sie  fi^t  gang  bornen  an  ber  $ante. 

einen  SBifr,  fo  ift'S  gefd;e^n.  — 


aufte,  traume  fort,  bi§  toir  un§  toieberfe^n.          1525 

^  a  u  ft  ertoacf)enb. 
33in  id;  benn  abermali  betrogen  ? 
SSerfd;h)inbet  fo  ber  geifterreid;e  ©rang, 
2)a^  mir  ein  S£raum  ben  Xeufel  borgelogen, 
Unb  bafj  ein  ^5ubel  mir  entf^rang  ? 


©tubtr^tnttner. 


a  ii  ft.    2Kepl)ij'topljeleS. 


1530     @§  !Iobft  ?    §eretn  !    2Ber  tottf  mid)  toieber  blagen  ? 


®u  tnu^t  e§  breimal  fagen. 

gauft. 
Herein  benn  ! 

m  e  ^  $  i  ft  o  Jj  I?  c  I  c  8. 
@o  gefdttft  bu  tnir. 
SBtr  toerben,  ^off'  id^,  un§  bertragen  ! 
£)enn  bir  bte  GJriHen  ju  berjagen 


TS3S 

^n  rotfyem  golbberbramtem 
5)a§  SRdnteld^en  bon  ftarrer  ©cibe, 
!Dte  §af>nenfeber  auf  bem  §ut, 
2)Ht  einem  langen  ftti^en  ^Dcgen, 

1540     Unb  ratbe  nun  btr,  furj  unb  gut, 
£)ergleicfyen  gletd^fatt§  anjulegen  ; 


(69) 


70  ftaujl    (Srfter  £fjeil. 

$)atnit  bit,  loSgebunben,  fret, 
afyreft  toag  ba§  Seben  fet. 

gfatifl 

n  jebem  &Ieibe  toerb'  id£>  toobl  bie  $ein 

engen  (Srbelebeng  fiifylen.  1545 

bin  ju  alt,  urn  nur  gu  f)3telen, 
um  °^ne  2Bunf4)  gu  fein. 
fann  bie  2BeIt  mir  toofyl  geh)af)ren  ? 
©ntbe^ren  fottft  bu !  fottft  entbef>ren ! 
£>a3  tft  ber  etotge  ©efang,  1550 

2)er  jebem  an  bie  Dfyren  flingt, 
S)en,  unfer  ganje§  Seben  long, 
Un§  ^eifer  jebe  (Stimbe  fingt. 
9Zur  mit  ©ntfe^en  toacfy'  id^  3Rorgen§  auf, 
^d^  mocfyte  biitre  S^ranen  toeinen,  1555 

2)en  5Cag  gu  fe^n,  ber  mir  in  feinem  £auf 

(Sinen  2Bunfd^  erfiitten  ittirb,  nid^t  (Sinen, 
felbft  bie  2l^nung  jeber  2uft 
eigenfinnigem  ^rittel  minbert, 
2)ie  @d§6pfung  tneiner  regen  SBruft  1560 

SRtt  taufenb  2eben§fra£en  ^inbert. 

irf),  toenn  bie  97ad:)t  fid^  nieberfenlt, 

auf  ba§  2ager  ftrerfen  ; 
ba  ioirb  feme  Sftaft  gefc^en!t, 
toerben  toilbe  ^Traume  fd^reden.  1565 

2)er  ©ott,  ber  mir  im  S3ufen  toofynt, 
^ann  tief  mein  ^nnerfteg  erregen  ; 
5Der  iiber  aHen  meinen  ^raften  t^ront, 
(Sr  fann  nadj)  au^en  nid^tg  beh)egen ; 
Unb  fo  ift  mir  bag  SDafein  eine  Saft,  1570 

2)er  Xob  erlnunfc^t,  ba§  Seben  mir  berfyafjt. 


71 


Unb  bod;  ift  me  ber  £ob  ein  gcmj  toittfommner 

8faufr 

D  felig  ber,  bem  er  im  ©iegeSglanje 
2)ie  blut'gen  Sorbeern  urn  bie  ©cfylafe  hrinbet, 
1575      2)en  er,  nadj  rafd)  burd;raf'tem 

$jn  eine§  3ftabd;en§  2Irmen  finbet  ! 
£)  toar'  ic^  bor  be§  ^o^en  ©eifte§ 
©ntjiidtt,  entfeelt  ba^in  gefun!en  ! 

9Ji  e  p  §  i  ft  o  p  ^  e  I  e  8. 
Unb  bod)  fyat  jemanb  einen  Braunen  ©aft, 
1580     3>n  jener  5Rad;t,  nid)t  au^getrunlen. 


©^toniren,  fd^eint'S,  ift  beine  Suft. 

3)1  e  ^)  ^  i  ft  o  j>  fy  e  I  e  g. 
2lttit)iffenb  bin  id;  nid;t  ;  bod;  Diet  ift  mir 

Sauft. 

SSenn  au§  bem  fd;redtlid;en  ©etoiifyle 
@in  fii|  befannter  ^ton  mid;  gog, 

1585      2)en  9left  bon  Iinblid;em  ©efii^Ie 
2Rit  2ln!Iang  frofyer  &it  betrog  ; 
@o  flud;'  id;  attem  tt>a§  bie  <5eele 
SJiit  Sods  unb  ©au!eltoerf  iimftoannt, 
Unb  fie  in  biefe  Strauerbofyle 

1590      9Hit  33Ienbs  unb  <Sd)meid;eIlraften  bannt! 
3?erflud;t  borau§  bie  fyofye  3Reinung, 
SBomit  ber  ©eift  fid;  felbft  umfdngt  ! 
33erflud)t  ba§  SBIenben  ber  @r[d;einung, 
2)ie  fid;  an  unfre  <2>inne  bra'ngt  ! 


72  Saujl.    (Srfler 


35erflu$t  toa§  un§  in  £ra'umen  fyeucfyeft/  1595 

2)e§  SRufymS,  ber  9tomen§bauer  £rug  ! 

SSerflud^t  toa§  al§  23efi$  un3  fcfymeicfyelt, 

2llg  SBeib  unb  £inb,  al§  ^ned^t  unb 

SSerflud^t  fei  SRammon,  toenn  mtt 

©r  un§  §u  fii^nen  5t^aten  regt,  1600 

9Benn  er  ju  tnii^tgem  ©rge^en 

2)ie  ^3olfter  ung  jured^te  legt  ! 

glud)  fei  bem  Salfamfaft  ber  Xrauben  ! 

gluc^  jener  fyocfyften  Sie6e§^ulb  ! 

^luc^  fei  ber  ^offnitng  !    gluc^  bem  ©lauBen,  1605 

Unb  gluc^  Dor  alien  ber  ©ebulb  ! 

©eiftersS^or  mtftdjtbar. 

SSe^  !  toe^  ! 

S)u  fyaft  fie  jerftort, 

®ie  fdjone  2Belt, 

5Rit  mac^ttger  ^auft  ;  1610 

@te  ftitrji,  fte  jerf  attt  ! 

©in  §albgott  ^at  fie  jerfdjlagen  ! 

2Bir  tragen 

SDie  Xrummern  in'§  %li<S)tZ  ^iniiber, 

Unb  Hagen  1615 

tiber  bie  serlorne  ©d^one. 

9Karf>tiger 

2)er  ©rbenfo^ne, 

^radjtiger 

S3aue  fie  iDieber,  1620 

$n  beinem  33ufen  baite  fte  attf  1 

3^euen  SebenSlauf 

SBeginne, 

3Jlit  fyeflem  ©inne, 


©tubirjimmer.  73 


1625  ttnb  neue  Sieber 

barauf  ! 

i  ft  o  p  I?  e  I  e  3. 
3)iefj  ftnb  bte  fleinen 
SSon  ben  SJfeinen. 
£ore,  tote  511  Suft  unb  Stfyaten 
1630  SUtftug  fie  ratten  ! 

3n  bie  2BeIt  ioett, 
2(u§  ber  Gsinfamfett, 
SBo  @innen  unb  ©aftc  ftoden, 
SBotten  fie  btd^  loden. 


1635  §o^  auf  mtt  beinem  ©ram  gu  f^ielen, 

SDer,  tote  ein  ©eier,  bit  am  Seben  fri|t; 
S)ie  fd^Ie^tcfte  ©efeUfd^aft  lafet  bid^  fii^Ien, 
bu  ein  3Jlenfd^»  mtt  SRenfd^en  bift. 
fo  ift'§  ni$t  gemeint 

1640  2)i$  unter  ba§  ^3ad  ju  fto^en. 

^5$  bin  fetner  bon  ben  ©ro^en  ; 
S)o$  toittft  bu,  mit  mir  Deretnt, 
S)etne  <S$ritte  bur$'l  Seben  ne^men, 
(So  toiU  t$  mt$  gem  bequemen 

1645  ®e^n  5U  fe^n/  auf  ^er  ©tette. 

^$  bin  betn  ©efette 
Unb,  ma$'  i$  bir'§  re$t, 
33in  i$  bein  Sriener,  bin  betn 


Unb  toa§  foil  i$  bagegen  bir  erfiitten? 

3R  e  $  fy  i  ft  o  $  $  e  I  e  8. 
1650  S)aju  ^aft  bu  nod?  eine  lange  ^rift. 


74  goufl.    (Srfter 


•Kein,  nein  !  ber  £eufel  ift  ein  ©goift 
Unb  tfyut  nid&t  leidjt  urn  ©otte§  2Bitten 
etnem  anbern  nit^ltd^  ift. 

bie  SBebtngung  beutlid?  au§  ; 
@in  folder  Wiener  bringt  ©efafyr  in'§  £au§.  1655 


i  ft  o  p  ^  e  I  e  g. 

^d^  it>iU  tntd^  1)  i  e  r  311  betnem  SDienft  Derbinben, 
2luf  beinen  2Binl  ntd^t  rafteu  unb  nid^t 
2Benn  toir  un§  b  r  ii  b  e  n  toieber  finben, 
@o  foUft  bu  mir  ba§  ©leid^e  t^un. 


3)rii6en  lann  mid?  toenig  fummern  ;  1660 

<Srf)Iagft  bu  erft  biefe  SSelt  511  £riimmern, 
S)te  anbre  mag  barnad^  entftefyn. 
2lu§  biefer  @rbe  quttten  meine  Reuben, 
Unb  biefe  ©onne  fcfyeinet  meinen  Seiben  ; 
^ann  \<fy  mid^  erft  toon  i{>nen  fcfyeiben,  1665 

3)ann  mag  toa§  toitt  unb  fann  gefc§e^n. 
3)abon  hnff  id^  nid^tg  lueiter  ^oren, 
D6  man  aucfy  fiinftig  ^a^t  unb  lie&t, 
Unb  06  e§  aucfy  in  jenen  S^^aren 
@in  D&en  ober  Unten  gibt.  1670 

m  e  $  I)  \  ft  o  p  ^  e  I  e  g. 

^n  biefem  <Sinne  fannft  bu'§  toagen. 
SBerbinbe  bid)  ;  bu  follft,  in  biefen  Xagen, 

^reuben  meine  $iinfte  fe^n, 

gebe  bir  toa§  nod^  fein  2Renfd§  gefe^n. 


©tubirjimmer.  75 


1675      2Ba^  toittft  bu  armer  £eufel  geben  ? 

28arb  eine§  3)ienfc^en  ©eift,  in  feinem  fyol?«n  ©treben, 

Son  &etnesgleid;en  je  gefajjt? 

SDod;  fyaft  bu  <2peife  bie  nidjrt  fattigt,  Ijaft 

2)u  rot^cg  ©olb,  ba§  ofyne  $Ra[t, 
1680      Duedftlber  gletdb,  bir  in  ber  §anb  jerrinnt, 

©in  Spiel,  bei  bem  man  nie  gennnnt, 

(Sin  ^Jidbc^en,  ba§  an  meiner  33ruft 

SJiit  2(ugeln  fcfyon  bem  9iad^bar  ftd^>  berbinbet, 

$er  e^re  fd^one  ©otterluft, 
1685      S/ie,  toie  ein  3Jieteor,  berf  djtoinbet  ? 

3eig'  mir  bie  $ru$t  bie  fault,  e^>'  man  fte  bridjt, 

Unb  SBaume  bie  ftdf?  taglia;  neu  begriinen  ! 


folder  2luftrag  fd^redft  mirf>  nia;t, 
fola^en  (Sd^a^en  lann  id^  bienen. 
1690      25od?,  guter  greunb,  bie  3^it  fommt  aua)  ^era 
2Bo  toir  i»a§  ©ut§  in  Sflu^e  fa^maufen  mogen. 


SBerb'  id^i  beru^igt  je  mid?  auf  ein  gaulbett  legen, 
(So  fei  e§  gleic(>  um  mid)  getban  ! 
^annft  bu  mid;  fd)meid;einb  je  beliigen 
1695      2)afj  id;  mir  felbft  gefallen  mag, 

&annft  bu  mid;  mit  ©enufc  betrugen  ; 
2)a§  fei  fur  mid;  ber  le^te 
S5ie  2Bette  biet'  id;  ! 


76  goufl.    (Srfler 


Unb  <5d?lag  auf  ©cfylag  ! 
2Berb'  id?  jum  2lugenblid;e  fagen  : 
SBertoeile  bod?  !  bu  bift  fo  fd?on  !  1700 

S)ann  magft  bu  mid?  in  ^effeln  fd?lagen, 
®ann  toiH  id?  gern  ju  ©runbe  gefyn  ! 
35ann  mag  bie  Xobtenglorfe  flatten, 
SDann  bift  bu  beine§  3)ienfte§  fret, 
S)ie  Ui>r  mag  ftet>n,  ber  3eiser  fatten,  1705 

@§  fei  bie  3«it  fur  mid;  fcorbei  ! 

9)1  e  j)  1)  i  ft  o  p  $  e  I  e  §. 
SBebenf  e§  too^I,  tt)ir  toerben'5  nicfjt  bergeffen. 

^auft. 

S)aju  I>aft  bu  ein  Dotted  Sftec^t, 
^d?  fyab  e  mid?  nid?t  frebentlid?  Uermeffen. 
•JBie  id?  be^arre  bin  id?  $ned?t,  1710 

Db  bein,  ioa§  frag'  id?,  ober  i»ejfen. 

3Jie^)^iftoj)^eIe§. 
lyd?  icerbe  ^eute  gleid?,  beilm  £)octorfd?mau§, 
21I§  2)iener,  meine  ^Bflid?t  erfiiQen. 
5?ur  ein§  !  —  Urn  SebenS  ober  <£terben§  toiUen, 
S3itt'  id?  mir  ein  ^aar  geilen  au§.  1715 


Slud?  toa§  ©efd;riebne§  forberft  bu  ^ebant? 

§aft  bu  nod?  feinen  SJlann,  md?t  2Ranneg=2Bort  gefannt? 

^ft'g  nid?t  genug,  ba^  mein  gef^rod?ne§  3Bort 

2luf  etrig  foH  mit  meinen  STagen  fd?alten? 

S^af't  nid?t  bie  2Belt  in  atten  ©tromen  fort,  1720 

Unb  mid?  foil  ein  23erfpred?en  fyalten  ? 


©tiibirjimtner.  77 


3)od)  biefer  2Ba^n  ift  un§  in'§  £erj  gelegt, 

2Ber  tnag  fid)  gern  babon  befreien  ? 

93egliicft  toer  !£reue  rein  im  Sufen  tragt, 
1725  $ein  Dbfer  toirb  ifyn  je  gereuen  ! 

Slttein  ein  ^Sergament,  befcfyrteben  unb  be^rdgt, 

^ft  etn  ©etyenft,  bor  bem  ftd^  aUe  fd^euen. 

S)a§  2Bort  erftirbt  fd^on  in  ber  $eber, 

®ie  §errfd^aft  fiifyren  2Bad?§  unb  Seber. 
1730  2Ba§  toittft  bu  bofer  ©eift  toon  mir? 

@rg,  9Karmor,  ^Bergament,  papier? 

(Sott  ic^  mit  ©riff  el,  3ReifjeI,  geber  fc^reiben? 

^d§  gebe  jebe  2Ba^)I  bir  frei. 

3Ji  e  p  ^  t  ft  o  j>  ^  e  I  e  8. 
SSie  magft  bu  beine  Stebnerei 
1735      5iur  gleid^  fo  ^i^ig  iibertreiben  ? 
^ft  bod()  ein  jebe§  33Iattc()en  gut. 
S)u  unterjeid)neft  btd^  mit  einem  ^rb^fd^en  Slut. 

^auft. 

SBenn  bie^  bir  Dottig  ©'niige  tf>ut, 
@o  mag  e3  bei  ber  ^ra^e  bleiben. 

2ftepfyiftopfyele§. 
1740     S3Iut  ift  ein  gang  befonbrer  (Saft. 


feine  $ur$t,  ba^  id^>  bie^  SBunbnifj  breeze  ! 

©treben  meiner  ganjen  ^raft 
3ft  g'rabe  ba§  h)a§  \<fy  berf^rec^e. 
3<^  fyabe  mid^  ju  f>od^  geblal>t  ; 
3n  fceinen  Siang  gefyor'  ic§  nur. 
2)er  gro^e  ©eift  fyat  mid^)  berfc^ma^t, 


78  3fO»fl. 


SSor  mir  berfd)lie|5t  fid)  bie 

2)e§  2)enlen§  $aben  ift  jerriffen, 

SJiir  elelt  lange  toor  attem  SBiffen. 

Safe  in  ben  Siefen  ber  @innlid;leit  1750 

Un§  glttfyenbe  2eibenfd;aften  ftiHen  ! 

^n  unburc^brungnen  gau&erfyiiHen 

@ei  jebe§  2Bunber  gleid^)  Bereit  ! 

©tiirjen  h)ir  un§  in  ba§  9lauf4)en  ber  3^it, 

$>n'3  Gotten  ber  Segeben^eit  !  1755 

SDa  mag  benn  ©d^merj  unb  ©enufj, 

©elingen  unb  SSerbru^, 

einanber  h)ed^)feln  n>ie  e§  lann  ; 
bet^atigt  fid)  ber  3)iann. 


@ud)  ift  lein  3Jlaj$  unb  3iel  gefefct.  1760 

33eliebt'§  eud)  iiberaH  ju  nafcfyen, 


33e!omm'  eud;  too^I  toa§  eud;  erge^t  ! 
5Hur  greift  mtr  311  unb  f  eib  jud;t  blobe. 

^auft. 

®u  ^oreft  fa,  toon  ^reub'  ift  nid;t  bie  9tebe.  1765 

3)em  Staumel  toeib,  '  id;  mid),  bem  fd;merjlid;ften  ©enufc, 
S3erliebtem  §a^,  erquidEenbem  Serbru^. 
SUJein  Sufen,  ber  bom  28iffen§brang  ge^eilt  ift, 
(Sott  leinen  ©djmerjen  fiinftig  fid)  berfd)Iie^en, 
Unb  hm§  ber  ganjen  SJlenfd^^eit  guget^eilt  ift,  1770 

2BiU  id;  in  meinem  innern  ©elbft  geme^en, 
2Jiit  meinem  ©eift  ba§  §bd)ft'  unb  Sieffte  greifen, 
^^r  2Bof)I  unb  2Beb,  auf  meinen  33ufen  ^aufen, 
Unb  fo  mein  etgen  <3elbft  §u  if)rem  ©elbft  ertueitern, 
Unb,  toie  fie  felbft,  am  @nb'  aud)  id;  jerfd;eitern.         1775 


©tubirjimtncr.  79 

3ft  e  to  b,  i  ft  o  to  b,  e  I  e  8. 
D  glaube  mir,  ber  mancb,  e  taufenb  ^a^re 
2ln  biefer  fyarten  Stoeife  laut, 
SDafe  toon  ber  2Biege  bi§  jur  SBafyre 
$ein  -IRenfcfy  ben  alien  ©auertetg  berbaut  ! 
1780  ©laub'  unfer  einem,  biefeS  ©anje 

^5fi  nut  fiir  einen  ©ott  gemad^t  ! 
6r  finbet  ftd^  in  einem  eto'gen  ©lanje, 
lln§  f>at  er  in  bie  $in[ternijj  gebrad^t, 
Unb  eud^  taitgt  einjig  Stag  unb 


1785  2lHein  id^  toitt  ! 

9ft  e  p  ^  i  ft  o  p  ^  e  I  e  §. 

3)a§  Idjjt  ftd? 
3)oc^  nur  bor  (Sinem  ift  mir  bang  ; 
35ie  3eit  ift  lurj,  bie  Hunft  ift  long. 
lycl?  bdd^t',  il)r  lie^et  euc^  belefyren. 
Slffodirt  eud9  mit  einem  $oeten, 
1790  Sa^t  ben  §errn  in  ©ebanlen  fd^toeifen, 

Unb  aHe  eblen  Dualitaten 
2luf  euren  @^ren=<Sc^eiteI  fyaufen, 
Sotoen 


1795  S)e§  ^taliener§  feurig  S3Iut, 

3)e§  ;Jiorben§  3)aurbarfeit  ; 
Safet  i^n  eud^  ba€  ©ebeimnifj  finben, 
©ro^mut^  unb  2lrglift  ju  berbinben, 
Unb  euc^,  mit  toarmen  ^ugenbtrieben, 
1800  ^ad^  einem  ^lane,  ju  berlieben. 

felbft  folcfy  einen  §erren  fennen, 
3Jiifrofo§mu§  nennen. 


80  gouft.    (Srfter 


2Ba£  bin  icf)  benn,  toenn  eg  nicfyt  moglicfy  ift 

£>er  Sftenfd^eit  $rone  §u  erringen, 

•ftacfy  ber  fid)  aft  e  <5inne  bringen  ?  1805 

2ft  e  p  $  i  ft  o  p  fy  e  I  e  8. 
25u  btft  am  @nbe  —  toa§  bu  6ift. 

'  bir  ^erriitfen  auf  toon  SJiiHtonen  SodEen, 

beinen  gu^  auf  etten^o^e  <Soc!en, 
bleibft  bod()  immer  toa§  bu  bift. 

^auft. 

fiifyr§,  bergebenS  ^ab'  ic^  atte  (Scfjatje  1810 

9Jienfd9engetft§  auf  midp  ^erbeigerafft, 

Unb  tuenn  id^)  midf)  am  @nbe  meberfe^c, 

DuiUt  innerlicfy  bod^  leine  neue  ^raft  ; 

%<$  bin  nid^t  um  ein  £>aar  breit  ^o^er, 

SBin  bem  Unenblicfyen  nid^t  nci^er.  1815 


3Jiein  guter  §err,  i^r  fefyt  bie  Sadden, 
2Bie  man  bie  ©acfyen  eben  fte^t  ; 
2Bir  miiffen  ba§  gefc^eibter  mac^en, 
<£fy'  ung  be§  Sebeng  ^reube  fliefyt. 
2Ba§  §enfer  !  freilidc>  §anb'  unb  ^ii^e  1820 

Unb  $opf  unb  §  --  bie  finb  bein  ; 
2)ocfy  attc§,  toa§  i$  frif$  genie^e, 
^5ft  ba§  brum  toeniger  mein  ? 
•JOenn  i$  fed^S  §engfte  ja^Ien  !ann, 
©inb  i^re  ^rafte  nid^t  bie  meine?  1825 

%&)  renne  ju  -unb  bin  ein  renter  9Jiann, 
t'  id)  bier  unb  jtoanjig  Seine. 


©tubirjimmer. 


SDrum  frtfd^  !  Soft  atte§  <5innen  fein, 
llnb  g'rab'  mit  in  bie  2BeIt  fyinein  ! 
1830     3>cfy  fag'  e§  bit  :  ein  $erl,  ber  fpeculirt, 
^ft  tine  ein  S^ier,  aitf  biirrer  £>eibe 
SSon  einem  bofen  ®eift  im  $rei§  fyerum  gefuljrt, 
Unb  ringg  um^er  liegt  fdjone  griine  SBeibe. 

gauft. 
293ie  f  angen  fair  ba§  an  ? 

3ft  e  p  ^>  i  ft  o  $  I)  e  I  e  8. 

2Bir  gefyen  eben  fort. 
1835     SBa§  ift  ba§  filr  ein  2JJarterort? 

fyeijjt  ba§  fiir  ein  Seben  fiifyren, 
unb  bie  ^ungen§  ennutyiren  ? 
bit  ba§  bem  §errn  9?a(^6ar  2Banft  ! 
2Ba§  roittft  bu  bic^  bag  ©trol)  ju  brefd^en 
1840     5Da§  iBefte,  h?a§  bu  toiffen  lannft, 

®arfft  bu  ben  33uben  bocfy  nici^t  fagen. 
6r'  icfy  einen  auf  bem  ©ange  ! 

ftauft. 
'g  nid^t  tnoglicfy  i^»n  ju  fet>n. 


SDer  arme  ^nabe  toartet  lange, 
1845     ^er  ^arf  n^t  ungetroftet  gefyn. 
,  gib  mir  beinen  9loc!  unb 
5Ra§!e  mu^  mir  foftli^  fte^n. 

(£r  Iteibet  ftc^  urn. 
uberlafe  e§  meinem  2Bi§e  ! 
3$  braucfye  nur  ein  SSiertelftunbd^en 
1850     ^nbeffen  mad^e  bid)  §ur  fd^onen  ga^rt  bereit  ! 

ftauft  ab. 


82  ftoitft.    (Srfter 


totofyeleS   in  gcmft'S  langem  tteibe. 

SSeradfyte  nur  SSernunft  unb  SBiffenfdfyaft, 

2)e§  3JJenf$en  atterfyocfyfte  flraft, 

Sajj  nur  in  Slenb*  unb  gaubertoerfen 

3)idi)  bon  bem  Siigengeift  beftarfen, 

<So  fyab'  id^  btd^  fc^on  unbebtngt  —  1855 

$fym  ^at  ba§  @cfytc![al  einen  ©etft  gegeben, 

S)er  ungebanbtgt  immer  bortoart§  bringt, 

Unb  beffen  iibereilteS  ©treben 

2)er  @rbe  ^reuben  iiberf^rtngt. 

S)en  fc^Ie^j)'  id^  burd)  bag  loilbe  Seben,  1860 

SDurdj  fla^ie  Unbebeuten^eit, 

(Sr  fott  mir  ja^^eln,  ftarren,  fleben, 

Unb  feiner  UnerfattHcfyfett 

©oil  (S^eif  unb  £ranf  bor  gier'gen  Sip^en  fd^loeben  ; 

Gsr  h)irb  ©rqutdung  fid^  umfonft  erfle^n,  1865 

Unb  fyatt'  er  ficfy  aud^  nid^t  bem  Steufel  iibergeben, 

6r  ntii^te  bod^  ju  ©runbe  gefyn. 


6  d^  it  I  e  r. 

^d§  bin  attfyier  erft  furje  geit, 

Unb  lomme  bott  ©rgeben^eit, 

@inen  -Dtanu  ju  fbred^en  unb  ju  !ennenr  1870 

2)en  aUe  mir  mit  (Sfyrfurcfyt  nennen. 

m  e  b  ^>  i  ft  o  to  $  e  I  e  8. 

Gitre  §6flid^feit  erfreut  mid^  fefyr  ! 
^t>r  fe^t  einen  9Jtann  h)ie  anbre  me^r. 
§abt  ifyr  eud§  fonfl  fd^on  umgeti>an? 


©tubirgimmer.  83 


<5  $  it  I  e  r. 

l87S      S$  &itt'  euc^/  ne^mt  eucfy  meiner  an  ! 
%<S)  lomme  mit  attem  guten  SRutfy, 
Seiblidjem  ©elb  unb  frifrfjem  S3Iut; 
3JMne  SRutter  tooHte  micfy  f  aum  entfernen  ; 
gern  toa§  9tecfyt3  F>ierau§en  lernen. 


1880     2)a  feib  ifyr  eben  red^t  am  Drt. 
©  cfy  ii  I  e  r. 

2lufricfyttg,  mod;te  fc^on  toieber  fort  : 
^n  btefen  SRauern,  btefen  fatten, 
2BtII  e§  mir  feine§toeg§  gefaHen. 
@§  ift  ein  gar  &efdjran!ter  3taum, 
1885      9Jian  ftefyt  nid;t§  ©rune§,  leinen  33aum, 
Unb  in  ben  (Salen,  auf  ben  SBanfen, 

mir  ^oren,  (Sefyn  unb  2)en!en. 

3JZ  e  f  f)  i  ft  o  $  $  e  I  e  g. 
fommt  nur  auf  ©etoofynfyeit  an. 
@o  nimmt  ein  $inb  ber  Gutter  S3ruft 
1890      -fticfyt  gleid^i  im  2lnfang  toittig  an, 
3)o<$  balb  ernai)rt  e§  f:$  mit  Suft. 
@o  h)irb'§  eucfj  an  ber  2Bei§^eit  Sriiften 
3Jtit  jebem  Stage  mel)r  geliiften. 

<S  (^  ii  I  e  r. 

2ln  i^rem  §al§  toitt  id;  mit  ^rcuben  ^angen  ; 
1895      ^°$  faS^  wii^  nur,  toie  fann  id^i  ^ingelangen  ? 

3R  e  ^  ^  i  ft  o  $  ^  e  I  e  3. 
©rflart  eucfy,  el?'  i^r  toeiter  ge^t, 
2Ba§  toafylt  il>r  fiir  eine  gacultdt  ? 


84  goufl.    Srfter  Zljtil. 

©  3)  ii  I.  e  r. 

Sd)  hriinfcfyte  rec^t  gelefyrt  jit  ioerben, 
Unb  mocfyte  gern  toa§  auf  ber  @rben 
Unb  in  bent  £>tmmel  ift  erfaffen,  1900 

at  unb  bie 


feib  t^r  auf  ber  redjten  (S^jur  ; 
tnufjt  i|r  eud^)  nid^t  jerftreuen  lajfen. 


@  4)  ii  I  e  r. 
bin  babei  mit  ©eel'  unb  2ei6  ; 

eilid^  lt)iirbe  mir  be^agen  1905 

©in  h)enig  ^rei^eit  unb 
2ln  fd§onen  (Sommerfeiertagen. 


©ebraucfyt  ber  &\t,  fie  gef)t  fo  fcfynett  toon  ^innen, 
®od?  Orbnung  lel^rt  eutfy  $e\t  getoinnen. 
3Rein  t^eurer  ^reunb,  ic^  ratE>'  eud^)  brunt  1910 

3uerft  ©ottegium  Sogicunt. 
35  a  tuirb  ber  ©eift  eiid)  it)o^I  breffirt, 
^n  f^anifd^e  ©tiefeln  eingefc^niirt, 
S)a|  er  bebac^tiger  fo  fortan 

^iinf(f)Ieid^e  bie  ©ebanfenba^n,  1915 

Unb  nic^t  ettoa,  bie  $reuj  unb  Duer, 
^rrlic^telire  ^)in  unb  fyer. 
©ann  le^ret  man  euc^  ntand^en  ^ag, 
SDaf;,  h)a§  ifyr  fonft  auf  Sinen  (ScI)Iag 
©etrieben,  tote  Sffen  unb  ^rinlen  fret,  1920 

@tn§  !  3^e^  '  ®r^i  t  ^flju  not^ig  fei. 
t'g  mit  ber  ©ebanfens$abri! 


©tubirgimmer.  85 

2Bie  mit  einem  2Beber=2fteifterftucf, 

2Bo  Gin  £ritt  taufenb  gdben  regt, 
1925      £)ie  (Sd^tfflein  tyeriiber  fyiniiber  fcfytefjen, 

S)tc  $dben  ungefefjen  fliefjen, 

Gin  @$Iag  taufenb  33erbinbungen  fdjldgt  : 

SDer  ^^ilofo^^  ber  tritt  ^erein, 

Unb  betoeif  t  eud^,  e§  miiBt'  fo  fein  : 
1930     S)a§  @rft'  tear'  fo,  ba§  3toeite  f°/ 

llnb  brunt  ba§  2)ritt'  unb  SSterte  fo; 

Unb  toenn  ba§  6rft'  unb  3toett'  nid^t  todr'/ 
2)ritt'  unb  $Btert'  tear'  nimmerme^r. 
^reifen  bic  ©filler  atter  Drten, 
1935      @inb  aber  leine  2Seber  getoorben. 

2Ber  toil!  h?a§  SebenbigS  erfennen  unb  befd^reiben, 

6ud^)t  erft  ben  ©eift  ^>erau§  ju  tretben, 

2)ann  ^>at  er  bie  £l)eile  in  feiner  ^Qanb, 

^ef)It  leiber  !  nur  ba§  geifttge  33anb. 
1940      Encheiresin  naturae  nennt'S  bie  Gfyemie, 

©^ottet  i^rer  felbft  unb  toeifj  nid^t  toie. 

©  c§  ii  I  e  r. 
d9  nid^t  eben  ganj  toerftefyen. 


toirb  ndc^ften§  fc^on  beffer  ge^en, 
SBenn  i^r  lernt  aHe§  rebuctren 
1945      Unb  gefyorig  claffifidren. 

<3  c§  ii  I  e  r. 

9Jlir  toirb  bon  atte  bem  fo  bumm, 
21I§  ging'  mir  ein  3JZii^Irab  im 


86  goufl.    Srfter  £ljetf. 

2ft  e  j>  $  i  ft  o  p  fy  e  I  e  g. 
^acfyfyer,  toor  alien  anbern  ©adjen, 
3Jtufjt  ifyr  eitdfj  an  bie  SRetapfytyfi!  madden ! 
S)a  fefyt  bajj  ifyr  tiefftnnig  fafct,  1950 

2Ba§  in  be§  SRenfcfyen  §irn  nid^t  ^a^t ; 
$iir  h)a^  brein  gel>t  unb  nicfyt  brein  ge^t, 
@in  prad^ttg  S&ort  511  SDienften  fteE>t. 

Dorerft  biefe§  ^aI6e  ^a^r 
ja  ber  beften  Drbnung  toa^r.  1955 

©tunben  ^abt  t^r  jeben  ^ag  ; 
<Seib  brinnen  tnit  bem  ©lodenfd^Iag  ! 

eud)  border  too^I  bra^artrt, 

toofyl  ctnftubtrt, 
S)amit  ii)r  nad^^er  befjer  fe^t,  1960 

er  ni$t§  fagt,  aU  toa§  im  93u$e  fte^t ; 

eud?  be§  <Sd^reiben§  ja  beflei^t, 
9(Ig  bictirt'  eud?  ber  §eilig'  ©eift ! 

<5  c§  it  I  c  r. 

5Da§  foUt  i^r  mir  nid^t  gicetmal  fagen ! 
$$  benfe  mir  h)ie  biel  e3  nii|t ;  1965 

©enn,  toa§  man  fd^h)arj  auf  iuei^  befifct, 
man  getroft  nad^  §aufe  tragen. 

3JI  e  to  i)  \  ft  o  p  f)  e  I  e  g. 
toafylt  mir  eine  ^flcultdt ! 

it  I  e  r. 

fann  idj>  mi$  nid^t  bequemcn. 

3JI  e  p  ^  i  ft  o  to  ^  e  I  e  g. 

fann  e§  eucfy  fo  fe^r  ni$t  itbel  nefymen,  1970 

toei^  toie  e§  urn  biefe  Se^re  fte^t. 


©tubiqimmer.  87 


@§  erben  ftdj  ©efe|'  unb 
2Bie  eine  eto'ge  $ranffyeit  fort  ; 
<5te  fcfyleppen  toon  ©efrfjledfyt  ftcfj  $um 
1975      Unb  rticfen  facfyt  toon  Drt  ju  Drt. 
SSemunft  hrirb  Unfinn, 
SBefy  bir,  bafc  bu  ein  @nf  el  bift  ! 
SSom  Stedjte,  ba§  mtt  un§  geboren  tft, 
SSon  bent  tft  letber  !  nte  bte  ^rage. 

©  d^  it  I  e  r. 

1980     3Jietn  2l6fc^eu  toirb  burcp  eud?  toermeljrt. 
D  glii(!lid9  ber  !  ben  tfyr  belef>rt. 

mod^t'  id)  nun  Stf>eologie  ftubtren. 

2)?  e  p  ^  t  ft  o  p  ^  e  I  e  8. 
toiinfd^te  ntc^t  eud?  trre  ju  fii^ren. 

btefe  2Btffenfc^aft  betrtfft, 

1985      6§  tft  fo  fc^ir>er  ben  falfc^en  2Beg  gu  meiben, 
@§  Itegt  in  ifyr  fo  biel  berborgne§  ©tft, 
Unb  toon  ber  Slrjenet  tft'3  fount  gu  unterfd^eiben. 
2(m  beften  tft'S  auc^)  ^ter,  loenn  tfyr  nur  6inen 
Unb  auf  be§  3Jletfter§  SBorte  fc^toort. 
1990      3>m  ©anjen  —  ^altet  eucfy  an  SBorte  ! 
2)ann  ge^t  t^r  burd^  bte  ftc^re  ^Bforte 
3um  Xem^el  ber  ©etot^ett  ein. 
@  d)  ii  I  e  r. 
j£/ocfj  ein  33egriff  mufj  bet  bent  SBorte  fein. 

3Ji  e  p  ^  t  ft  o  $  I)  e  I  e  8. 

@c§on  gut  !  -Kitr  mujj  man  ftc^  ntd^t  attju  dngftltd^  qualen  ; 
1995      £)enn  eben  too  Segriffe  fef)Ien, 

35a  fteUt  ein  9Bort  jur  recfyten  3^it  ftd^  ein. 
3Kit  2Borten  lafet  ftd?  trefflia;  ftreiten, 


88  gawp- 


SHit  Shorten  ein  ©tyftem  bereiten, 

2fn  SBorte  lafjt  fid)  trepd;  glauben, 

33on  einem  2Bort  lajjt  fid)  !ein  $ota  rauben. 


©  d)  ii  I  e  r. 

t,  id)  fyalt'  eiid^)  auf  mit  bielen 
2lffein  id^  mujj  eud^  nod^  bemiit)n. 
SSottt  ifyr  mir  Don  ber  SJiebtcin 
^tcfyt  aud^  ein  frdftig  2Bortc^en  fagen? 
SDrei  ^a^r  i(t  eine  lurje  3^it/  2005 

Unb,  ©ott  J'baS  ^elb  ift  gar  311  toeit. 
SBenn  man  einen  ^tngerjetg  nur  fyat, 
fd^on  efyer  tueiter  fii^Ien. 


9JJe^^iftopf)eIe§  far  ftd). 
bin  be§  trocEnen  £on§  nun  fatt, 
toteber  recfyt  ben  ^eufel  f^ielen.  2010 

?out. 

©eift  ber  9Jlebicin  ift  leicfyt  gu  faffen  ; 
^5^>r  burc^ftubirt  bte  gro^'  unb  fleine  2BeIt 
Urn  e§  am  @nbe  ge^n  ju  laffen, 
2Bie'g  ©ott  gefattt. 

SSergebenS  ba§  i^r  ringium  iDiffenfd^aftlic^  fd^toeift,     2015 
@in  jeber  lernt  nur  tca^  er  lemen  lann  ; 

ber  ben  2lugenbIidE  ergreift, 

ift  ber  redjte  5CRann. 
^5^r  feib  nod)  jiemlid)  too^Igebaut, 
2ln  ^uf>nl)eit  tmrb'S  eud;  aud;  nid;t  fe^Ien,  2020 

Unb  toenn  if>r  eud;  nur  felbft  bertraut, 
3Sertrauen  eud)  bte  anbern  ©eelen. 
SefonberS  lernt  bie  2Beiber  fiif>ren  ; 


©tubirgimnter.  89 

@8  tft  tfyr  etoig  SSelj  unb  21$ 
2025      ©o  tcmfenbfad;) 

2lu§  ©inem  $unfte  gu  curiren, 

Unb  toenn  tfyr  fyalbtoeg  efyrbar  tfyut, 

3)ann  fyabt  tfyr  fte  aE'  unter'm  §ut. 

(Sin  £ttel  mu^  fte  erft  bertraulidj  madden, 
2030     3)a^  cure  £unft  biel  ^iinfte  iiberfteigt  ; 

3um  SBiEfomm'  ta^pt  i^r  bann  nad?  alien  ©tebenfad^en, 

Um  bie  etn  anbrer  biele  ^a^re  ftrei^t, 

SBerfte^t  ba§  $ul§lein  too^I  311  briiden, 

Unb  faffet  fte,  mtt  feurtg  fd^Iaiten  Sltrfen, 
2035      SSo^I  um  bie  fdjlanfe  §iifte  fret, 

3u  fe^n,  tote  feft  gefd^niirt  fte  fet. 

©  d^  ii  I  e  r. 
2)a§  fte^t  fd)on  beffer  au§  !    3Jian  ftefyt  bod^  too  unb  tote? 

3ftep§tftopfyele§. 
©rau,  t^eurer  ^reunb,  i(t  atte  S^eorie, 
Unb  griin  be§  SebenS  golbner  33aum. 

©  d^  it  I  e  r. 

2040     ^d^  f4)toor'  eitd^  ju,  ntir  iff§  als  toie  etn  Xraum. 
2)urff  td^  eud^  toof>I  ein  anbermal  befd^toeren, 
3Son  eurer  SSei^^eit  auf  ben  ©runb  gu 


td^  bermag,  foH  gern  gefcfyefyn. 

©  c^  it  I  e  r. 

^d^  lann  unmdgltcfy  toteber  ge^n, 
2045      S^  mufc  euc^  nod^  mein  ©tammbud^  itberreicfjen. 
©onn'  cure  ©unft  mtr  biefeS  3eid^en  ! 


90  gaufl.    (Srfter 


(£r  fdjreibt  unb  gibt'8. 

©  <$  il  I  e  r  liest. 

Eritis  sicut  Deus,  scieTites  bonum  et  malum. 
2ftad)t'8  efjrerbietig  ju  unb  empfteljlt  ftdj. 

3ft  e  p  I)  i  ft  o  p  ^  e  I  e  8. 

'  nur  bent  alten  @^ru^  unb  metner  yRufyms  ber  ©flange, 
Itrirb  gett)i|  einmol  bei  beiner  ©ottafynlicfyfeit  bange  !   2050 

gaufi  tritt  ouf. 

Sauft. 
foil  e§  nun  ge^n  ? 

SJie^^tfto^^eleg. 
.  *  2Bol)m  e§  bit  gefdttt. 

2Btr  fe^n  bie  Heine,  bann  bie  grofje  SBelt. 
3Rit  toeldjer  ^reube,  toeld^em  9iu^en, 
SBirft  bu  ben  Gurfum  burd^fd()maru|en  ! 

gauft. 
2tUetn  bei  meinem  langen  SBart  2055 

mir  bie  leicfyte  Seben^art. 
ioirb  mir  ber  SSerfud)  nid^t  gliidfen  ; 
loufete  nie  mid^  in  bie  SBelt  ju  fd^idEen, 
anbern  fiifyP  id^  mi4)  fo  !Iein  ; 
^d^  hjerbe  ftet§  berlegen  fein.  2060 

W  e  p  ^  i  ft  o  ^  ^  e  I  e  «. 
9Jiein  guter  greunb,  ba§  toirb  fid^  atte§  geben  ; 
©obalb  bu  bir  bertrauft,  fobalb  toeijjt  bu  ju  leben. 


©tubirgimmer.  91 


2Bte  fommen  hnr  benn  au3  bcm 

2Bo  fyaft  bu  $ferbe,  £necfyt  unb  SSagen? 


2065  3Bir  Breton  nut  ben  2RanteI  au§, 

35er  foH  un§  burd^)  bte  Siifte  tragen. 
5Du  nitnmft  bet  biefem  fiif>nen  ©d^ritt 
3^ur  leinen  grofjen  33iinbel  mit. 
@in  Bi|d^en  ^euerluft,  bte  id^  beretten  toerbe, 

2070  §ebt  un§  be^enb  bon  btefer  @rbe. 

Unb  ftnb  n)ir  letcfyt,  fo  gef^t  e§  fc^neU  fytnauf  ; 
3d§  gratulirc  btr  jum  neiten  2eben§lauf. 


teller   in 


3ed)e  Jixfllger  ©efeUen. 

^rofc^. 

2Bttt  f  etner  trinlen  ?  letner  lad)en  ? 
3>d)  hriH  eud)  lefyren  ©efid^ter  macfyen  ! 
^5^r  feib  ja  fyeut  it)ie  naffe^  ©tro^,  2°75 

Unb  brennt  fonft  immer  Itd^terlo^. 

S3  r  a  n  b  e  r. 

Itegt  an  bit  ;  bu  fcringft  ja  nia;t§  fyer&et, 
eine  Summ^eit,  feine  (Sauerei. 


gie^t  il)m  ein  ©Ia«  iGBein  fiber  ben 
^aft  bu  beibe^  ! 

S3  r  a  n  b  e  r. 


h)ottt  e§  ja,  man  foil  e§  fein  ! 

@  i  e  b  e  I. 

^t>iir  ^inau§  toer  fid)  entgtoett  ! 
lit  offner  SSruft  fingt  Slunba,  fauft  unb  ft^rett  ! 
2luf  ! 


Better  in  Seipgig.  93 

21  1  1  m  a  \)  e  r. 

2Be^>  tnir,  icfj  bin  toerloren  ! 
Saumtooffe  fyer  !  ber  $erl  fyrengt  tnir  bie  Dfyren. 

©  i  e  6  e  I. 
2085      gBenn  bag  ©etoolbe  toiberfcfyattt, 

$iifylt  man  erft  red^t  be§  33affe§  ©runbgetoalt. 

Srofc^. 

@o  red^it,  ^inaui  mit  bent  ber  ettoa§  iibel  nitnmt  ! 
21  !  tara  lara  ba  ! 

21  1  1  m  a  ty  e  r. 
21  !  tara  lara  ba  ! 

8f«»f<$- 

finb  geftimmt. 


@ingt. 
2090  2)a§  liebe  IjeiPge  9fiom'fcf)e 

2Bie  fyalt'S  nur  nod^  jufammen  ? 

33  r  a  n  b  e  r. 

@in  garfHg  Sieb  !  $fui  !  @in  ^olitifd^  2ieb 
(Sin  leibig  2ieb  !  S)an!t  ©ott  mit  jebem  SJlorgen, 
25a^  ifyr  nid£)t  braud^t  fiir'S  Stom'f^e  Ifteicfy  ju  forgen  1 
2095      3$  ^alt'  e§  h)enigften§  fiir  reidfjlicfyen  ©eh)inn, 
id?  nid^t  $aifer  ober  Tangier  bin. 
mufj  aud;  un§  ein  Dber^ati^t  nicfyt  fe^Ien  ; 
Sir  Gotten  einen  $apft  erit>a^Ien. 
^v  h)i^t,  toelcfy  eine  Dualitat 
2)  en  2lu§f$Iag  gibt,  ben  gjiann  er^o^t. 

$  r  o  f  $  fmgt. 
*  bid^  auf,  ^rau  -ftacfytigall, 
'  mir  mein  Siebd^en  jefyentaufenbrnal. 


94  .gaitfl.    erfter 

©  i  e  6  c  I. 
£)em  Stebcfyen  !einen  ©rufj  !  icf)  toitt  babon  nidfjtg  fyoren ! 

3-rofd}. 
2)em  Siebdljen  ©rufj  unb  ®ufj !  bu  hnrft  mir'3  nid^tbertoefyren! 

©ingt. 

Spiegel  auf !  in  [titter  9?ad}t.  2105 

Stiegel  auf !  ber  Siebfte  iuad^t. 
SHiegel  ju !  be§  SKorgeng  frity. 

©  i  e  b  e  I. 

%a.,  jtnge,  fmge  nur,  unb  lob'  unb  riii)me  fie ! 
%<fy  h)itt  ju  meiner  3^it  fd^on  lac^en. 
(Sic  fyat  mic^  angefii^rt,  bir  h)irb  fie'S  aud^  fo  madden.     2II° 
3um  Siebften  fei  ein  ^obolb  ifyr  befd^ert ! 
25  er  mag  mit  i^ir  auf  einem  ^reujtoeg  fcfya'fern ; 
(Sin  alter  $80$,  toenn  er  bom  33Iodf§berg  le^rt, 
Sftag  im  ©alobto  noa^  gute  5lad^t  it>r  ntedfern ! 
@in  bratoer  ^erl  toon  extern  ^Icifd^  unb  Slut  2115 

3ft  fur  bie  SDirne  i>iel  ju  gut. 
3$  toitt  toon  leinem  ©ru^e  imffen, 
21I§  i^r  bie  ^enfter  eingefd;miffen ! 

S3  r  a  n  b  e  r  auf  ben  Xiffl  fc^Iagenb. 
^a^t  auf !  ba^t  auf !   ©efyorcfyet  mir ! 
3^r  £>errn  gefte^t,  id^>  toci^  ju  lebcn;  2120 

•Cerliebte  Seute  fi^cn  fyter, 
Unb  biefen  mu^,  nac^  (StanbSgebufyr, 
3ur  guten  ^Raa^t  id^  toa§  jum  Seften  geben. 
©ebt  Sltt^t !  @in  Sieb  bom  neuften  ©d&nittl 
Unb  fingt  ben  9tunbreim  Iraftig  mit !  2125 


2luerbarf)8  $eCer  in  Seipjtg.  95 

(£r  ftngt. 

@§  toar  eine  SRatt'  im  Merneft, 
Sebte  nur  toon  $ett  unb  Suiter, 
£atte  fid)  ein  Stanjlein  angemaft't 
Site  toie  ber  doctor  Sutler. 
2130  SMe  ^od;in  ^att'  if)r  ©tft  gefteUt  ; 

®a  toarb'S  fo  eng  ifyr  in  ber  3BeIt, 
Slfe  ^attc  fte  Sieb'  im  Seibe. 

6  1^  o  r  u  2  jaut^jenb. 
ate  ^atte  fie  2ieb'  im  Seibe. 

iB  r  a  n  b  e  r. 

<Sie  fu^r  Return,  fie  fu^r  fyerauS, 
2135  Unb  foff  auS  atten  ^fii^en, 

3ernagt',  jerfra^t'  ba§  ganje  ^au§, 

SBottte  nid;t§  i^r  Butfyen  nii^en  ; 

©ie  t^cit  gar  mandjen  ^fngftef^rung, 

SBalb  ^atte  ba§  arme  2;^ier  genung, 
2140  2H§  ^dtt'  e§  Sieb'  im  Seibe. 

6  fy  o  r  u  8. 
Site   atf  e§  2ieb'  im  Seibe. 


33  r  a  n  b  e  r. 

@ie  lam  bor  Slngft  am  F>effen  Stag 
SDer  ^iid;e  jugelaufen, 
^iel  an  ben  §erb  unb  judEf  unb  lag, 
2145  Unb  ti>at  erbarmlid?  fd;naufen. 

S)a  Iad)te  bie  3Sergifterin  nod)  : 
!  fie  pfeift  auf  bem  le^ten  Sod), 
^atte  fie  Sieb'  im  Seibe. 


96  ^"fl*    (Srfler  £l)etl. 

G 1)  o  r  u  g. 
2tt§  fyatte  fie  Sieb'  im  Seibe. 

©  i  e  b  e  I. 

2Bie  ficfy  bie  flatten  SBurfcfye  freuen !  21S° 

@§  ift  tnir  eine  recfyte  $unft, 
2)en  armen  fatten  ©ift  gu  ftreuen  ! 

S3  r  a  n  b  e  r. 
©ie  ftefm  too^I  f ei)r  in  beiner  ©unft  ? 

21 1 1  m  a  \)  e  r. 

2)er  ©d^merbauc^  mit  ber  fallen  ^latte ! 
SDag  llngliic!  mac^t  ifyn  ja^m  unb  milb  ;  2I5S 

6r  fiei>t  in  ber  gefcfytooftnen 
(Sein  ganj  natilrlid^  ©benbilb. 

gauji  unb  3Jtep 

3JI  e  p  ^  t  ft  o  p  I>  e  I  e  §. 
^d)  mu^  bid^)  nun  bor  atten  ®ingen 
^n  luftige  ©efeUfc^aft  bringen, 

bu  fiefyft  iuie  Ieirf)t  fic^'g  leben  Idfjt.  2160 

SSolle  ^ier  itttrb  jeber  Stag  ein  geft. 
toenig  3Si^  unb  btel  SBefyagen 

jeber  fic§  im  engen 
9Bie  junge  ^a^en  mit  bem 

2Benn  fie  nicfyt  iiber  ^o^ftoe^  Ilagen,  2l6s 

(So  lang  ber  SSirti>  nur  toeiter  borgt, 
(Sinb  fie  bergniigt  unb  unbeforgt. 

33  r  a  n  b  e  r. 

35ie  lommen  eben  bon  ber  Steife, 
3Jlan  fiefyt'3  an  i^rer  h)unberlid()en  2Beife ; 
@ie  finb  nic^t  eine  ©tunbe  ^ier.  2170 


2tuerbacf)S  better  tn  Seipjtg.  97 


SBa^aftig  bit  tyaft  SRed&t  !    3Kein  Seiftig  lob'  id^  mir  ! 
@§  ift  ein  llein  $ari§,  unb  btlbet  feine  £eute. 


©  i  e  6  e  I. 
fte^ft  bu  bie  gremben  an  ? 


mid^  nur  ge^n  !     Sei  einem  boffen  ©lafe, 
2175  3^  id^),  toie  einen  ^inberjafyn, 

S)en  33urfd^en  lei^t  bie  2Biirmer  au§  ber 
@te  fcfyeinen  mir  au§  einem  eblen  §au§, 
<5ie  fe^en  ftolj  unb  unjufrieben  au§. 

33  r  a  n  b  e  r. 
9Jiar!tf  d^reier  finb'g  getoijj,  id^  toette  ! 

21  1  1  m  a  \)  e  r. 
2180 


SCeufel  f^iirt  ba§  SSoIfc^en  nie, 
Unb  h)enn  er  fie  bei'm  $ragen  t^atte  ! 

^auft. 
©eib  un§  gegrii^t,  i^r  §errn  ! 

<5  i  e  b  e  I. 

SBiel  2)anl  gum  ©egengru^. 
Seife,  9Hep^ifto^eIe8  Oon  ber  ©cite  anfeljenb. 
2Sag  ^inlt  ber  ^erl  aitf  ©inern 


98 


3ft  e  p  $  i  ft  o  p  fy  e  I  e  s. 

3ft  e§  erlaubt,  un§  aucfy  ju  eu$  511  feijen?  2l85 

©tatt  eine§  guten  !£runl3,  ben  man  nicfyt  I>aBen  lann, 
@ott  bte  ©efeltf^aft  un§  erge^en. 

31  1  1  m  a  ty  e  r. 
S^r  fd^eint  ein  fefyr  bertooi>nter  3Jlann. 


feib  too^I  f^at  toon  9ttppa$  aufgebrocfyen  ? 

r  mit  ^erren  §an§  no^  erft  511  yiafyt  gef)3eift?    2I9° 


£eut  finb  toir  i^n  borbei  gereif  t  ! 
2Bir  ^aben  i^n  bag  lettfemal  gef^rod^en. 
iBon  feinen  SSettem  iuu^t'  er  biel  ^u  fagen, 
SSiel  ©ru^e  I)at  er  un§  an  jjeben  aufgetragen. 
(Sr  neigt  jtt^  gegen  5r°W- 

21  1  1  m  a  ty  e  r  leife. 
bu'§  !  ber  tterfte^t'g  !  2195 

©  i  e  b  e  I. 

©in  Vfiffiger  patron  ! 


,  toarte  nur,  icfy  Irieg'  i^n  fd^on  ! 


23enn  ic^  nic^t  irrte,  fybrten  n>ir 
©eiibte  ©ttmmen  6^>oru§  fingen  ? 
©etoifi,  ©efang  mu^  treffltcfy  ^ier 
SSon  biefer  2B5Ibung  toiberllingen  ! 


2tuerbac^«   better  in  ?etyjig.  99 

a«t4 

@eib  ifyr  toofyl  gar  em  SSirtuoi  ? 

2ft  e  $  $  i  ft  o  $  1)  e  I  e  3. 
D  item  !  bie  &raft  ift  fcfytoad),  attein  bie  Suft  tft  grofc. 

211  1  m  a  ty  e  r. 
©ebt  un§  ein  Sieb  ! 


•Bknn  i^r  bege^rt,  bie  9Jienge. 
Siefcet 

d^  em  nagelneue§  ©tiidE  ! 

3JI  e  ^  ^  i  ft  o  ^  fy  e  I  e  8. 
2205  2gir  fommen  erft  au§  ©panten  juriirf, 

S)em  fd^onen  Sanb  be§  2Bein§  unb  ber  ©efcinge. 

@ingt. 

©§  toar  einmal  ein  $onig, 
3)er  ^att'  einen  gro^en  $Iofy  — 


@inen  $Iofy  !    §abt  i^r  ba§  too^I  gefa^t 

2210  @in  gio^  ift  mir  ein  faubrer  ©aft. 

3Jie^^ifto^^>eIe§  fmgt. 
(S§  toar  einmal  ein  ^onig, 
2)er  fyatt'  einen  gro^en  ^lo^, 
2)  en  liebt'  er  gar  ntd^t  toenig, 
31I§  toie  feinen  eignen  @o^n. 

22I5  25  a  rief  er  feinen  ©d^neiber, 

2)er  @d§neiber  fam  ^eran  : 
2)a,  nti^  bem  punier  &Ieiber, 
Unb  mi^  il)m  §ofen  an  ! 


100 


33  r  a  n  b  e  r. 

SBergefjt  nur  nidjt  bem  ©cfyneiber  einjufdjarfen, 
25af5  er  mir  auf§  genaufte  mijjt,  222° 

Unb  ba£,  fo  lieb  fein  $opf  ifym  ift, 
2>ie  $ofen  feine  fatten  toerfen! 

m  e  ^  ^  i  ft  o  p  ^  e  I  e  3. 
$n  6ammet  unb  in  ©eibe 
3Sar  er  nun  angetfyan, 

§atte  SBanber  auf  bem  ^leibe,  2225 

§att'  aucfy  ein  ^reuj  baran, 
Unb  toar  fogleid^  3Jiinifter, 
Unb  I^att'  etnen  gro^en  (Stern. 
SDa  tourben  feine  ©efcfytoifter 

grofje  §errn.  2230 


Unb  §errn  unb  $rauen  am 
S)ie  toaren  fe^r  ge^Iagt, 
3)ie  ^onigtn  unb  bte  3ofe 
©eftod^en  unb  genagt, 

Unb  burften  fie  nid^t  !nic!en,  223S 

Unb  toeg  fie  jucfen  nicf)t. 
SSir  fnidfen  unb  erfticfen 
gleid^i  toenn  einer  ftic§t. 


jaud^jenb. 
2Bir  fnirfen  unb  erftidcen 

toenn  einer  ftidjt.  224° 


Srabo  !  Srabo  !    2)ag  toar  faon  ! 


2luerbacf)«  better  in  Setyjig.  101 

<5  i  e  b  e  I. 

(So  fott  e§  jebem  $lofy  ergefyn ! 
33  r  a  n  b  e  r. 
©pi^t  bie  finger  unb  bacft  fte  fein  ! 

2U  t  m  a  ty  e  r. 
@§  lebe  bie  gteifyett !    ©3  lebe  ber  2Bein ! 

m  e  b  I)  i  ft  o  p  ^  e  I  e «. 

224S          ^rf)  trdnfe  gern  ein  ©Ia§,  bie  ^rei^eit  ^od^  311  efyren, 
SSenn  eure  2Beine  nur  ein  bi^en  beffer  toaren. 

@  i  e  b  e  I. 
UBir  tnogen  ba§  nid^t  toieber  ^oren  ! 

3K  e  p  ^  t  ft  o  ^  ^  e  I  e  3. 
3c^  fiird^te  nur  ber  3Birt^)  befd^toeret  fic§ ; 
©onft  gab'  irf>  biefen  tuertF)en  ©often 
2250         2iu§  unferm  better  toag  gum  SBeften. 

©  i  e  b  e  I. 
•ftur  immer  fyer  !  ic§  nef>m'§  auf  mic§. 

^rofc?. 

©d^affl  i^r  ein  gute§  ©lag,  fo  tooUen  h)ir  eu$  loben. 
5iur  gebt  nid^t  gar  $u  Heine  ^Broben ; 
SDenn  toenn  id^  jubiciren  foil, 
2255          SSerlang'  itf)  aud?  ba§  Sftaul  red^t  boff. 

21 1 1  m  a  ^  e  r  leifc. 
@ie  finb  bom  Sl^eine,  toie  idf)  fbiire. 

3Ji  e  ^)  fy  i  ft  o  b  ty  e  I  e  g. 
<Sd§afft  einen  Sourer  an  ! 


102 


33  r  a  n  b  e  r. 

2Ba§  fott  mit  bem  gefdljeljm  ? 
2$r  fyabt  bocfy  nicfyt  bie  gaffer  bor  ber  £fyitre  ? 

21  1  1  tn  a  ty  e  r. 
SDafyinten  fyat  ber  SBirtl)  ein  ^orbc^en  2Ber!geug  fteijn. 

9Jie^t>ifto^eIe§  nimmt  ben  Sourer.    3"  ^°f^- 
fagt,  toa§  toiinf  d^et  i^r  ju  fcf)me(!en  ?  226° 


2Bie  meint  ifyr  ba§  ?    §abt  it>r  fo  mancfyerlei  ? 

3)1  e  pfy  i  ft  o  ^  e  I  e  3. 
$cfy  ftelF  e§  einem  jeben  fret. 

2Htmatyer  gu  groj^. 
2l^a,  bu  f  angft  fcfjon  an  bie  £i)3^en  abjulerfen. 


©ut,  h>enn  id^)  toafylen  foH,  fo  tottt  id?  - 

SSaterlanb  berleiijt  bie  aHerbeften  ©aben.  2"-65 


tnbem  er  an  bem  ^ptafc,  tto  grofd^  ft^t,  ein  fot^  in  ben  Stjdjvanb  bo^rt. 
SSerfd^afft  ein  toenig  SBadgg,  bie  ^fro^fen  gleid)  511  madden  ! 

31  1  1  m  a  v  e  r. 
2ld>  ba§  ftnb  2;afd^enf^ielerfad§en. 

9Jie^^)iftD^eIe§  gu  Sranber. 
Unbi^r? 

33  r  a  n  b  e  r. 

^d^>  toill  6f>am^agner  SSein, 
Unb  rec^t  muffirenb  foil  er  fein  ! 


$luerbad)8   better  in  ?eipjig.  103 

3Kepb,tjtopl)ele8  boljrt;  einer  Ijat  inbeffen  tie  2Bad)8pfropfen  gentad£)t 
unb  toerftopft. 

S3  r  a  n  b  e  r. 

fann  nicfyt  ftet§  ba§  ^^embe  metbcn, 

©ute  liegt  un§  oft  fo  fern. 
@in  ed^ter  beutfd^er  2Rann  mag  feinen  grangen  leiben, 
S)oc§  ifyre  2Beine  trinlt  er  gern. 

@i  ebel 

inbem  |i(^  2JiepI)ifiop^eteS  jeinem  $ta£e  no^ert. 
^c^  mu^  gefteF)n,  ben  fauem  mag  irf)  nid^t, 
2275          ©ebt  mir  etn  ©Ia§  bom  ed^ten  fii^en  ! 

3Ke^^ifto^)^eIeg  bo^rt. 
foil  fogletd9  2;ola^er  fltefjen. 

21  1  1  m  a  ty  e  r. 

,  £erren,  feF)t  mir  in'§  ©efid9t  ! 
3d)  fef)'  e§  ein,  ifyr  ^abt  un§  nur  jum  Seften. 

9Jie^ifto^^eIe§. 
(Si  !  @t  !  5Rit  f  olcfyen  eblen  ©aften 
2280         sngar'  e§  ein  bi^en  biel  getoagt. 

©efcfynrinb  !    5Rur  g'rab'  ^erau§  gefagt  ! 
•JJlit  toeld^em  9Beine  fann  id?  bienen  ? 


jebem.    5lur  nid;t  lang  gefragt. 

bie  ?b(^er  alle  geboljrt  itnb  oerftopft  ftnb, 
3Re^^tft0^el*d  mit  fettfamen  ©ebarben. 

3;rauben  iragt  ber  2Beinftocf  ! 
2285  Corner  ber 


104  B«»f*.    ^fter  SIjeiL 


$er  SSetn  ift  faftig,  §olj  bie  Steben, 
$>er  fyoljerne  £ifcfy  !ann  SBetn  aucfy  geben. 
@in  tiefer  SBIicf  in  bie  Sftatur  ! 
£ier  ift  ein  2Bunber,  glaubet  nur  ! 
•ftun  jie^t  bie  ^fropfen  unb  genie^t  ! 

8  It* 

tnbem  ftc  bie  ^fropfen  jie^en,  iinb  jebem  ber  »erlangte  SBein 

tn'S  ©Ia8  lauft. 
D  fd)oner  33runnen,  ber  un§  flie^t  ! 

3K  t  p  $  i  ft  o  p  $  e  t  e  0. 

3fiur  ^tttet  eud^,  ba^  ii>r  mir  nid^tg  bergie^t  ! 
@ic  trinfen  njieber^ott. 

21  II  e  fmgen. 

Un§  ift  gang  lannibaltfc^  toofyl, 
2II§  n)ie  fiinf^unbert  ©auen  ! 

9R  e  p  $  i  $.0  £  $  el;*& 

33ol!  ift  fret,  fe^»t  an,  toie  too^I'8  ifym  ge^)t  !  2295 


3>rf>  ^atte  Suft  nun  abjufa^ren. 

m  e  ^  ^  i  ft  o  p  $  e  I  e  3. 
©ib  nur  erft  2l$t,  bie  Seftialitdt 
2Birb  fid^)  gar  ^errlic^  offenbaren. 

©  t  e  b  e  I. 

trtnft  un»orfid)tig,  ber  SSetn  flie^t  oitf  bie  (Srbe  itnb  h)trb 
$elft  !  geuer  !  £elft  !    S)ie  §5Ee  brennt  ! 


better  in  Seipjig.  105 


•JftepfyiftopfjeleS  bie  glamme  beforedjenb. 
2300  @ei  rufyig,  freunblid)  Element  ! 

3u  bent  ©efetten. 
$ur  btejjntal  tear  e§  nur  em  £ropfen  $egefeuer. 

@  i  e  b  e  I. 

2Ba§  fott  ba§  f  em  ?    2Bart'  !    ^j^r  be^a^It  e§  t^euer  ! 
6§  fc^einet,  ba^  t^>r  un§  nic^t  fennt. 


@r  un§  bag  gum  jtoeitenmale  bleibcn  ! 

21  1  1  m  a  ty  e  r. 
2305  $$  bacfyt',  tnir  ^ie^en  t^n  gang  facfyte  feittoartS  ge^n. 

©  i  e  6  e  I. 

2Ba§£err?    (&  toitt  ftcfc  unterfte&n, 
Unb  ^ter  fein  §ocu§^ocu§  treiben  ? 

2ft  e  p  $  i  ft  o  j>  $  e  I  e  §. 
©titt,  alteS  SSetnfa^  ! 

@  i  e  b  e  I. 
SefenfticI  1 
35u  toiUft  un§  gar  nod^  grob  begegnen  ? 

S3  r  a  n  b  e  r. 
2310  2Bart'  nur  !    @§  fotten  ©d^Iage  regnen  ! 


ie^t  eincn  ^Pfropf  au«  bent  £ifdj,  e«  fpringt  i^nt  geuer  entgegen. 
^d^  brenne  !  id?  brenne  ! 

@  i  e  b  e  I. 
3auberet  ! 

©tojjt  ju  !  ber  ^ert  tft  bogelfrei  ! 
@ie  jieljen  bie  3Ke(fer  unb  ge^en  ottf 


106  gauft    ©rfler 


fyeleg  mit  ernftljafter  ©ebarbe. 

©ebilb  unb  2Bort 
SBeranbern  ©inn  unb  Drt  ! 
(Seib  fyier  unb  bort  !  23'5 

@ie  ftefyn  erftaunt  unb  feljn  einanber  an. 

21  1  1  m  a  ty  c  r. 
2Bo  bin  icfy  ?    2BeIc^eg  fc^one  2anb  ! 

g  r  o  f  dj. 
SOBeinberge  !  @c^'  id^  re$t  ? 

©  i  e  b  e  I. 

Unb  £rauben  gleicfy  jur  ^anb  ! 
S3  r  a  n  b  e  r. 

§ier  unter  biefem  griinen  Saube, 
©efyt,  toeld^  ein  ©torf  !   6efyt,  toeld^e  SCraube  ! 
Sr  fajjt  ©iebeln  bei  ber  9Jafe.    2)ie  anbern  t^un  e«  tt)e(^fetfeitig 
unb  fyeben  bie  3Jieffer. 

3Jie^^ifto^)^eIe§  tt)ie  oben. 

^rrt^um,  Ia^  Io3  ber  Slugen  33anb  !  2320 

Unb  merit  eiid)  loie  ber  Steufel  f^a^e. 
(Sr  »erf(^n)inbet  mit  g  o  u  ft,  bie  ©efetten  fasten  au8  einanber. 

©  i  e  6  e  I. 


21  1  1  m  a  t)  e  r. 
2Bie? 


«uerbac!j«  tfeHer  in  2eipjig.  107 


33ranb  er 

Unb  beine  fyab'  icf)  in  ber  £anb  ! 

21  1  1  m  a  \)  e  r. 

@§  tear  ein  ©cfylag,  ber  ging  burcfy  aHe  ©lieber  ! 
2325      ©djafft  einen  6tulj>l,  id?  ftnfe  nieber  ! 


ein,  fagt  mtr  nur,  toa§  ift  gefd^ie^n? 

©  i  e  b  e  I. 

2Bo  ift  ber  ^erl  ?    SSenn  ic^  i^n  friire, 
<£r  fott  mir  nid^t  lebenbig  gefyn  ! 

21  1  1  m  a  \)  e  r. 

3<fy  ^>ab'  i^n  felbft  ^>inau§  jur  ^ettert^ure  — 
233°      3luf  einem  gaffe  reiten  fe^n  — 

(S&  liegt  mir  bleifd^toer  in  ben  ^iifjen. 

<£>ii)  nac^  bem  £i[d)e  wenbenb. 
3Jlein  !    (Sottte  toofyl  ber  28ein  nod^  flie^en? 

©  t  e  b  e  L 
Setrug  mar  alleg,  2ug  unb  ©djein. 


bauble  boc^  al«  tranf  id^  2Bein. 

33  r  a  n  b  e  r. 
2335      3lber  hue  tear  e3  rnit  ben  ^rauben? 

21  1  1  m  a  ty  e  r. 
fag'  mir  ein§,  man  foH  fein  S&unber  glauben  ! 


9luf  einem  niebrigen  £erbe  ftefyt  ein  grower  $effet  fiber  bent  ^euer.  3>n  bent 
S)ompfe,  ber  bauon  in  bie  §olje  fteigt,  jeigett  ftcf)  berfdjiebene  ©eftatten. 
(Sine  2Jteerfa£e  ftijt  bet  bent  $effel  unb  fcfjaitntt  ib,n,  ttnb  forgt  ba§  er 
nid^t  iibertauft.  ©er  2fteerfater  nttt  ben  3ungen  ft^t  barneben  unb 
Warmt  ftd).  2Banbe  unb  S)edfe  fmb  nttt  bent  feltfantften 
au«gefc^ntudft. 


SfaufL 

ioiberfte^t  bag  totte 
SBerf^rid^ft  bu  mir,  id^  foil  genefen, 
3n  biefem  2Buft  toon  9fia[erei? 

SSerlang'  \<fy  ^atl?  toon  einem  alien  HBeibe?  2340 

Unb  fd^afft  bte  @ubelforf)eret 

brei^tg  ^a^re  nttr  bom  Seibe  ? 
mtr,  tt>enn  bu  nid^t§  Sefjerg  toeifet  ! 
tft  bte  ^offnung  mir  berf^ihjunben. 
bte  -ftatur  unb  ^at  etn  ebler  ©etft  2345 

trgenb  etnen  SBalfam  aufgefunben? 

m  e  ^  $  t  ft  o  b  f)  e  I  e  8. 
9Jietn  greunb,  nun  f^rtd^j't  bu  toieber  ftug  ! 
2)ic^  gu  toerjungen  gtbt'g  aud^  etn  natiirli^  SWittel  ; 
3lUetn  e§  fte^t  in  einem  anbern  SBud^, 
Unb  tft  ein  hjunbetlic^  ©a^itel.  2350 

(108) 


109 


hriH  e§  hriffen. 


©ut  !    (gin  fitter,  o^ne  ©clb 
Unb  Slrjt  unb  3auberet  ju  fyaben  : 
33egib  bicfy  gleicfy  fyinauS  auf'S  $elb, 
$ang'  an  ju  fyatfen  unb  ju  graben, 

2355  Grfyalte  bid^  unb  beinen  ©inn 
$n  einem  ganj  befd^rdnften  ^reife, 
(Srnafyre  bid?  mtt  ungemifc^ter  S^etfe, 
2eb'  mtt  bem  55te^  al§  3Sie^  unb  o^f  c§  nid^t  fur 
3)en  2tdfer,  ben  bu  emteft,  felbft  ju  bitngen; 

2360  2>a§  ift  ba§  befte  9JtttteI,  glaub', 
Stuf  ac^tjig  ^a^r  btcfy  ju  beriungen  ! 


bin  id?  nid^t  getoo^nt,  icfy  lann  mic^  nid^t  bequemen, 
S)en  (S^aten  in  bte  §anb  ju  nef>men. 
S)a§  enge  Seben  ftefyt  ntir  gar  nic^t  an. 

m  e  $  \)  i  ft  o  $  $  e  I  e  §. 
2365  @o  mujj  benn  bod^  bie  §eje  bran. 

gauft. 

SBarum  benn  juft  ba§  alte  SBeib  ! 
^annft  bu  ben  Xranf  nid^t  felber  brauen  ? 

3)1  e  p  I)  t  ft  o  })  $  e  I  e  8. 
$>a§  h)ar'  ein  fd^oner  3citbertreib  ! 
Jycf)  tooUt'  inbe§  too^I  taufenb  Sriicfen  bauen. 
2370  ybfyt  Sunft  unb  2Bijfenfd?aft  aUein, 
©ebulb  tcitt  bei  bem  2Serfe  fein. 


110  goujl.    (Srjter  Xljeil. 


©in  ftitfer  ©eift  ift  ^afyre  long  gefcfyciftig  ; 

3)ie  3eit  nur  macfyt  bie  feine  ©afyrung  fraftig. 

Unb  aUe§  toa§  bajit  gefyort, 

©3  finb  gar  tounberbare  ©ac^en  !  2375 

3)er  SCeufel  ^>at  fie'S  jtoar  gelei)rt  ; 

SlUein  ber  2;eufel  !ann'§  nici^t  madden. 

®ie  S^tere  erbticfenb. 
@ief>,  toeld^  ein  gierlidjeS  ©efd^Ied^t  ! 
ift  bte  2Kagb  !  ba§  ift  ber  £ne$t  ! 

3u  ben  £l)ierett. 
f^eint,  bie  grau  ift  nid^t  ju  §aufe?  2380 


S3ei'm  ©d^maufe, 
2lu§  bem 


3)1  e  ))  ty  i  ft  o  i)  fy  e  I  e  §. 
9Bie  lange  ^flegt  fie  too^I  ju  fd^todrmen? 


@o  lange  toir  un§  bie  ^Pfoten  toarmen.  2385 

5Ke^^ifto^^e 
SBie  finbeft  bit  bie  garten 


©o  abgefc^marft  al§  i$  nur  jemanb 

2ft  e  p  $  i  ft  o  ^  ^  e  I  e  §. 

^Rein,  ein  35igcourg  h)ie  biefer  ba 

3ft  g'rabe  ber  ben  ic$  am  liebften  fiUjre  1 


$ej:en!fidje.  Ill 


3u  ben  £I)teren. 
2390  ©o  fagt  mir  bocfj,  berflucfjte 

2Ba§  quirlt  .ifyr  in  bem  23rei  fyerum? 

£  $  \  e  r  e. 
2Bir  foc^en  breite  SBettelfuppen. 


i  ft  o  $  $  e  I  e  8. 
25a  ^abt  i^r  ein  grofj  ^Bubltcum. 

2)er  ^ater 
macfjt  ftd^  ^erbei  unb  fc^mei^elt  bem  2Jlepf|tjiopI)ele8. 

D  toiirfle  nur  gleidfj, 
2395  Unb  mad^e  mid^  retcfy, 

Unb  Ia^  mid^  getoinnen  ! 
©ar  frf)lec§t  ift'8  beftellt, 
Unb  toar'  ic^  bei  ©elb, 
©o  toar'  ic^  bet  ©innen. 


2400  2Bte  gliidlli^  toiirbe  ftcfy  ber  2(ffe 

^onnt'  er  nur  aud)  in'§  Sotto  fetjen  ! 

Snbeffen  ^aben  bte  jungen  aKecrlo^d^en  tnit  einer  gro§en  $ugel  gefpielt 
unb  roCen  fie  Ijeruor. 

Set 

2)a§  ift  bte  2BeIt  ; 
@tc  ftetgt  unb  fdttt 
Unb  roflt  beftdnbtg  ; 
2405  ©ie  fltngt  ioie  ©lag  ; 

2Bie  balb  brid^t  bag  ! 
3ft  &o^I  intoenbtg. 
£ter  glcin^t  fie  fe^r, 
Unb  fyter  no(^  me^r, 


112  gouft.    (Srjler  SHjeil 


%tf)  bin  lebenbig  !  2410 

SOtein  lieber  ©ofyn, 

§alf  bid}  batoon  ! 

SDu  tnujjt  fterben  ! 

@ie  ift  toon  ^on, 

@§  gi&t  ©d^erben.  2415 


Set   $ater  l^ott  e«  tjerunter. 

SBarft  bu  ein  ^ieb, 
9BoHt'  \<fy  bid;  gleid;  erlennen. 
@r  lauft  jitr  ^a^in  itnb  la^t  fte  burdjfeljen. 


©rfennft  bu  ben  SDtefc,  2420 

Unb  barfft  i{>n  nicfyt  nennen  ? 


ftc^  betn  geiter  na^ernb. 
UnbbieferSo^f? 

^ater  unb  ^a^in. 
®cr  alberne  Xro^f  ! 
Gr  lennt  nid)t  ben  £opf, 
6r  lennt  nid^t  ben  Sleffel  !  2425 

m  e  p  $  i  ft  o  ^  ^  e  I  e  8. 


2)er  ^ater. 
2)en  SBebel  nimm  bier, 
Unb  f  efc'  bid3  in  ©cjfcl  ! 
@r  notljigt  ben  SWe^ijlop^eteS  gu  ftfcen. 


113 


toeldjer  biefe  £eit    fiber  tior  einem  ©pieget  geftanben,  jtd)  ilrat  batb 
genafjert,  balb  fid)  eon  ifjm  entfentt  f)at. 

2Ba§  feb,  '  id>  ?    SBeld)  ein  fn'mmlifd)  Silb 
2430     $eigt  fid)  in  biefem  gauberfpiegel  ! 

D  Siebe,  lei^e  mtr  ben  fdjneHften  beiner 
Unb  fitfyre  mtd^  in  it>r  ©efilb  ! 
21$  toenn  i$  nid)t  auf  biefer  (SteUe  bleibe, 
2Benn  id)  e§  iuage  na^>  gu  gefyn, 
2435      ^ann  i$  fie  nur  al3  toie  im  ^ebel  fefyn  ! 
fcfionfte  S3ilb  toon  einem  2Beibe  ! 
moglicfy,  ift  ba§  2Beib  fo  fc^on? 
id)  an  biefem  fyingeftretften  Seibe 
©en  ^nbegriff  toon  aHen  ^immeln  fe^n? 
2440      ©o  ettoa§  finbet  fi$  auf  @rben  ? 


iuenn  ein  ©ott  ft$  erft  fe^§  Jage  plagt, 
Unb  felbft  am  @nbe  brabo  fagt, 
5Da  mu^  e§  toa§  ©efd^eibtel  toerben. 
gitr  bie^mal  fieb,  bid)  immer  fatt  ; 
2445      3$  toeife  i>«  fo  ew  (Sc^a^^en  au^ufpiiren, 
Unb  felig  toer  ba§  gute  ©d^idEfal  Ejat, 
2H§  33rciutigam  fie  b,  eim  ju  fiifyren  ! 

gaup  ftct)t  immerfort  in  ben  Spiegel.    aKepIjtftopljeteS,  jt^  in  bem 
©effet  be^nenb  unb  ntit  bem  SBebet  fpietenb,  fa^rt  fort  ju  jprec^en. 

§ier  fi^'  id?  toie  ber  ^onig  auf  bem  Sfyrone, 

©center  b,alt'  id)  fn'er,  e§  fe^It  nur  nod)  bie  £rone. 


2)ie  Stb,  iere 

roefdje  Bi«^er  afferlei  iounbertidje  SBemegungen  burd)  einanber  gemad^t 
,  bringen  bem  2Jiep^iftoptjele«  cine  ^rone  mit  grofjem  ©efc^ret. 


114 


D  fei  bo$  fo  gut,  2450 

5!Jiit  ©cfytoeife  unb  ntit  Slut 
£)ie  $rone  gu  leimen  ! 
@ic  gefyn  ungefd)idt  mtt  ber  $roite  ntn  unb  jerbredjen  jte  in  jttei  @tii<fe 

tnit  fteldjen  fte  Ijerumftmngen. 
•Kun  ift  e§  gefcfyefyn  ! 
2Bir  reben  unb  fefyn, 
2Str  ^oren  unb  reimen  ;  2455 

^  a  u  ft  gegen  ben  @piege(. 
niir  !  id^  toerbe  fester  berrurft. 

Ji  e  $  $  \  ft  o  p  f)  e  I  e  §  auf  bte  Jljtcre  beutenb. 
fangt  mir  an  faft  felBft  ber  ^o^f  ju  fd^toanlen. 

2)  i  e  X^ier  e. 
Unb  toenn  e§  un§  gliidt, 
Unb  toenn  e§  fid)  fcfyirft, 
@o  finb  e§  ©ebanlen  !  2460 

$  a  u  ft  tote  often. 

SRetn  S5ufen  fangt  mir  an  ju  fcrennen  ! 
(Sntfemen  totr  un§  nur  gef  djtoinb  ! 

2Re^^ifto^^eIe§  in  obiger  @tettung. 
,  irenigften^  mufs  man  Belennen, 

aufricfytige  ^Soeten  finb. 

®er  ^effet,  tuetdjen  bie  f  atjin  bi«b,er  au^er  2ld)t  getaffen,  fangt  an  iiberju* 

laitfen  ;  e8  entfteh,t  etne  grofje  ^tamme,  tt)etcf)e  glint  @d)ornftein  IjtnaiiS 

jdjtagt.    ©  i  e  §  e  y  e  fommt  burd)  bie  ^lamme  mtt  entje^lid)em  ©efdjrei 

tyerunter  gefa^ren. 

2)ie  §  eje. 

2lu!  2Ui!  2lu!  2lu!  2465 

SSerbammteS  Sfyier  !  SSerfluc^te  ©au  ! 


115 


SBerfaumft  ben  $ef[el,  toerfengft  bie 
25erflud;te§  Sfyier  ! 

gauft  unb  2ftepl)ijtot)f)ele8  erblidtenb. 

SQ3a8ift  baggier? 
2470     28  er  feib  ifyr  fyier? 
2Ba§  toottt  ifyr  ba  ? 
2Ber  fc^Iic^  ftd&  em  ? 


@ie  fd^rt  mit  bem  ©djaiimtoffet  in  ben  ^effct  unb  fpri^t  glantmen 
gauft,  3Kep^iftop^eIe§  unb  ben  S^ieren.    ®ie  St^iere  nnnfeln. 


ttielc^er  ben  SBebet,  ben  er  in  ber  £anb  l)olt,  umle^rt  unb  unter  bie  ©lafer 
unb  £5pfe  fc^Iagt. 

2475      ©ntjtoei!  entjtoei  ! 
35a  Itegt  ber  Srei  ! 


tft  nur  @^ 
ct,  bit 
2480      3U  beiner  9Jietobet. 

3nbetn  bie  §eje  »ot(  ©rimnt  unb  Sntfe^en  jurudttritt. 

@rf  ennft  bu  mid)  ?  ©erippe  !    ©d^eujal  bu  ! 
©rfennft  bu  beinen  £>errn  unb  SJieifter? 
9Ba§  ^alt  tntcfy  ab,  fo  fd^Iag'  t^  gu, 
3erfd^mettre  bid^  unb  beine  £a£ens@eifter  ! 
2485     §aft  bu  bor'm  rotten  2Bamm§  nic^t  me^>r  9tefyect? 
^annft  bu  bie  §a^nenf  eber  nicfyt  erfennen  ? 

ic^  biefe  2Ingefic^t  berftec!t? 

id)  mid?  ettoa  felber  nennen? 


116 


2)  ie  £  er.  e. 

D  £>err,  toergeifyt  ben  rofyen  ©rujj  ! 
<Sefy'  icfy  boc^  f'einen  $ferbefujj.  2490 

2Bo  ftnb  benn  eure  beiben  9laben  ? 


$ur  biefcmal  fommft  bu  fo  batton  ; 
!Denn  freiltcfy  ift  e§  etne  ^Beile  fd)on, 

tcir  un§  nid^t  gefefyen  ^>aben. 

bie  6ultur,  bie  aHe  SBelt  BeledEt,  '     2495 

£>at  auf  ben  ^eufel  ficfy  erftrec!t. 
2)a§  norbifd^e  ^^antom  ift  nun  nicfyt  me^r  ju  fcfyauen  ; 
2Bo  fie^ft  bu  Corner,  ©d^toetf  unb  ^lauen? 
Unb  ttm§  ben  ^u^  betrifft,  ben  ify  nic§t  miffen  fann, 
2)er  toiirbe  mir  bet  Seuten  fc^aben  ;  2500 

SDarum  bebien'  id§  micf),  h)te  manner  junge  9Jlann, 
(Sett  totelen  ^a^en  falfd^er  2Baben. 

£>  i  e  §  e  j  e  tanjenb. 
©inn  unb  SSerftanb  berlier'  td^)  fcfyter, 
'  id;»  ben  ^unfer  (Satan  toieber 


3)en  -Women,  SSetb,  berbitt'  id)  mir  !  2505 

2)  i  e  §  e  E  e. 
•ffiarum?    2Ba§  ^at  er  eud§  get^an? 


©r  ift  fd^on  long  in'3  gabelbuc^)  gefd^rieben  ; 

SlUein  bie  2Renfcfyen  ftnb  nicf)t§  beffer  bran. 

S)en  SBofen  finb  fie  lo§,  bie  33ofen  ftnb  geblieben. 

3)u  nennft  mid)  §err  Saron,  fo  ift  bie  ©adtje  gut  ;        2510 

%<fy  bin  ein  (Sabalter,  toie  anbre  Sabaliere. 


gtoeifelft  nicfyt  an  meinem  eblen  Slut  ; 
fyer,  ba§  ift  ba§  28atoben,  ba§  id)  fiifyre  ! 
@r  mad)t  eine  unanftanbige  ©ebarbe. 

$)  i  e  §  e  j  e  fodjt  unmafjig. 
£>a  !    3)a§  ift  in  eurer  3Irt! 

,  loie  ifyr  nur  immer  toart. 


,  ba§  lerne  too^I  berfte^n  ! 
ift  bie  2lrt  mit  §ejen  umjugefyn. 


fagt,  ifyr  §erren,  n?a§  i^r  fd^afft. 


(Sin  gute§  ©Io§  toon  bem  befannten  ©aft, 
2520      jDod^)  nwjj  id^  euc|  um'§  alt'fte  bitten  ; 
2)ie  ^a^re  bo^eln  feine  ^raft. 

S)ie  §  eje. 

©ar  gern  !    £>ier  I>ab'  id^)  einc  ^lafcfye, 
2lu§  ber  ic§  felbft  jutoeilen  nafd§e, 
S)ie  aud9  nicfyt  me^r  im  minb'ften  ftin!t  ; 
2525      ^309  toitt  euc9  gern  etn  ©IdSd^en  geben. 

Seifc. 

SDorf)  toenn  e§  biefer  9Jiann  unborbereitet  trinft, 
@o  lann  er,  toijjt  i^r  too^I,  nic^t  eine  (Stunbe  leben. 

3Jle^^iftob^eIe§. 

@§  ift  ein  guter  ^reunb,  bem  e§  gebeifyen  fott  ; 
^jd§  gonn'  iljm  gern  ba§  33efte  beiner 
253°     3ie^  beinen  ^rei§,  tyrid)  beine 
Unb  gib  ifym  eine  Saffe  boU  ! 


118  gaiijl.    (Srfier  Sfytl. 

S5ie  £>ere,  tntt  fettfatnen  ©ebarben,  gieljt  einen  $rei«  unb  fteHt  munber- 
bare  ©acfjen  fotnein  ;  tnbeffen  fangen  bte  ©lafer  an  gu  flingen,  bte  $effet  gu 
tbnen,  unb  madjen  SDluftf.  3u*efct  bringt  fte  ein  grofjeS  S3uc^,  ftellt  bie 
in  ben  ^rei«,  bte  iljr  gum  ^ult  bienen  unb  bie  gatfel  Ijatten 
ntiiffen.  @ie  minlt  gauften,  gu  i^r  gu  treten. 


%  a  u  ft  gu 

fage  tntr,  h)a§  foU  ba§  iuerben? 
toUe  3eu9/  ^ie  tafenben  ©ebdrben, 
abgefd^macftefte  33etrug, 
©inb  mir  befannt,  ber^a^t  genug.  2535 


©t,  ^ofjen  !    S)a§  ift  nur  jum  Sadden  ; 
<Sei  nur  nid^t  ein  fo  ftrenger  -JRann  ! 
©ie  mufe  al§  2lrjt  ein  §ocu§^)ocu§  madden, 
2)amit  ber  ©aft  bir  h)o^I  gebeifyen  lann. 

@r  not^igt  ganften  in  ben  ^reis  gu  treten. 


mit  grower  (Smptjaje  fangt  an  au8  bent  S3u(^e  gu  bectamiren. 

SDu  mu^t  berfte^n  !  2540 


Unb  3n>et  lafe  g 
Unb  'Drei  mac^' 
©o  Btft  bit  ret4). 
SBerlier'  bte  SSier  !  2545 

nf  unb  @e$§, 
fagt  bie  $es', 

©ieben  unb  arc^t, 
©o  ift'g  boUbrad^t  : 

Unb  neun  ift  6in§,  2550 

Unb  3efyn  ift  Icing. 
ift  ba§ 


119 


li$  biinft,  bie  Sllte  fbric^t  tm  gieber. 

3Jt  e  b  fy  i  ft  o  b  f>  e  I  e  8. 
ift  nocfy  lange  nicfyt  boriiber, 
2SSS     3$  fenn'  e^  too^l/  fo  tlingt  bag  ganje 
%$  ^abe  mand^e  3^it  bamit  berloren, 
3)enn  etn  boHfommner  SEiberf^rud^ 
Sleibt  gleid^)  ge^eimni^bott  fiir  ^luge  tote  fur 
2Jiein  ^reunb,  bie  $unft  ift  alt  unb  neu. 
2560      @§  toar  bie  2lrt  ju  aEen  3^i^n/ 

5Durc^  SDrei  unb  @in§,  unb  @in§  unb  £>rei 
^rrt^um  ftatt  SBa^r^eit  ju  berbretten. 
@o  fc^tod^t  unb  lefyrt  man  ungeftort  ; 
2Ber  toitt  fid^  mit  ben  S^arrn  befaffen  ? 
2565     ©etoo^nlid^  glaubt  ber  SJtenfcfy,  toenn  er  nur  Sorte 
@§  miiffe  fid^)  babei  bocfj  aud^  toa§  benlen  laffen. 

2)  i  e  §  e  |  e  fd^rt  fort. 
SDie  ^o^ie  ^raft 
2)er  SSiffenfd^aft, 
S)er  ganjen  2BeIt  berborgen  ! 
2570  Unb  toer  nid^t  benft, 

2)  em  toirb  fie  gefd^enlt, 
@r  fyat  fie  o^ne  Sorgen. 

3=auft. 

2Ba§  fagt  fte  un§  fiir  Unfinn  bor  ? 
@§  toirb  mir  gleicfy  ber  ^obf  jerbred^en. 
2575      SJiid^  biinft,  \<fy  ^or'  ein  ganged  G^or 
SSon  f|unberttaufenb  barren  fbrecfyen. 

3)leb^tftob^ele§. 
©enug,  genug,  o  trefflid()e  ©ib^IIe  ! 
©ib  beinen  £ranf  ^erbei,  unb  fiitte 


120 


SDte  ©cfyale  raf$  bi§  an  ben  9tanb  fyinan; 
£)enn  meinem  ftreunb  hnrb  biefer£run!  nidjt  fcfyaben  :  2580 
6r  ift  ein  2Rann  bon  toielen  ©raben, 
2)er  tnancfyen  guten  ©cfyluc!  getfyan. 
S)ie  £ejfe  tnit  Dieten  Serentonien,  fdfjenft  ben  £rcmf  in  cine 
ttrie  fte  gauft  an  ben  9ftunb  bringt,  entfteljt  eine  leid^te  glamntc. 


^inunter  ! 
6§  hnrb  bit  gletc^  ba§  $erj  erfreuen. 
Sift  tnit  bent  Xeufel  bu  unb  bu,  2585 

Unb  toiHft  bid^i  bor  ber  ^lamme  fcfyeuen? 

®ie  §eje  toft  ben  $ret8.    gauft  tritt  Derails. 

5UI  e  p  ^  t  ft  o  p  ^  e  I  e  8. 

£)it  barf  ft  ni^t  ru^n. 


ba§  <5cfylucf$en  tro^I  be^agen  ! 


Unb  fann  i^  btr  h)a§  ju  ©efatten 

@o  barfft  bu  nuY<§  nur  auf  2Bafyurgi§  fagen.  2590 


ift  ein.Sieb  !  toenn  i^r'§  gutoeilen  fingt, 
toerbet  il^r  befonbre  2Bir!ung  f^uren. 


nur  gefcfynnnb  unb  la^  bid^)  fii^ren  ; 
2)u  mu^t  notl>h)enbig  tranlf^iriren, 
®amit  bie  ^raft  burc§  %nns  unb  $ufjre§  bringt.         2595 
5)en  eblen  SRii^tggang  le^r'  id^)  ^ernacfj  bid)  fcfya'^en, 
Unb  balb  em))finbeft  bu  mit  innigem  @rge£en, 
SSie  fidlj  (Supibo  regt  unb  ^in  unb  Urieber  f^ringt. 


121 


£afj  mi$  nur  f  djneH  nod)  in  ben  (Spiegel  fd)auen  ! 
2600      2)a§  graitenbilb  tear  gar  ju  fd^Sn! 


!    $u  foHft  ba§  3Kufter  affer  grauen 
3fiun  &alb  leib^aftig  bor  bir  fefyn. 


2)u  fte^ft,  mit  btefem  2:ranf  im  SeiBe, 
33alb  ^elenen  in  jebem  SBeibc. 


t  r  a 


$•011  fl.    SJiargarete  Doritber  geljenb. 

%  au  ft. 

2Kein  fcfyoneS  $raulein,  barf  idfj  toagen,  2605 

2Jteinen  $lrm  unb  ©eleit  2$r  anjittragen? 

Margaret  e. 

Sin  toeber  ^raulein,  toeber  fd^on, 
^ann  ungeleitct  nad^  £aufe  ge^n. 
@ie  tnoc^t  ftc^  log  unb  ab. 

gauft. 

S3ei'm  £immel,  biefeS  ^inb  ift  fd^on  ! 
@o  ettoa3  ^»ab'  ic^>  nie  gefe^n.  2610 

@te  ift  fo  fitts  unb  tugenbreid^r 
Unb  ettoaS  fd^ni^^ifd^  borf)  jugleid^. 
2)er  Stype  9tot^,  ber  SBange  Sic^t, 
S)ie  3:age  ber  2BeIt  toergeff  td^'g  nic^t  ! 
2Bie  fie  bie  Slugen  nieberfd^Idgt,  2615 

§at  tief  ftdtj  in  mein  §erj  gepra'gt  ! 
3Bie  fie  lurj  angehmben  tear, 
ift  nun  jum  ©ntjttdfen  gar  ! 

tritt  auf. 


,  bu  mujjt  mir  bie  2)irne  fc^affen  ! 


©trofee.  123 

2620  5Run,  toelcfye? 

@ie  ging  juft  borbci. 


2)a  bie?    <2te  !am  toon  ifyrem  ^faffen, 
®er  fprad;  fie  atter  (Siinben  fret  ; 
$$  fd^Iid)  mid^  fyart  am  6tu^I  borBei, 
6§  tft  ein  gar  unfc^ulbtg  Sing, 
2625  ®a§  eben  fiir  ntd^t§  gur  iBetd^te  gtng  ; 

ilber  bte  >ab'  td^  !eine  ©etoalt. 


3ft  iiber  bter^e^n  ^a^r  boc§  alt. 


3)u  f^ria^ft  ja  tote  §an§  Steberltd^, 
2)er  begefyrt  jebe  Itebe  33Iitm'  fiir  ft$, 
2630  Unb  biinfelt  tf>m  e§  tndr'  fetn'  6^ 

Unb  ©unft  bte  nid^t  ju  ^fliicfen  toaY; 
aber  bod^  ntd^t  tmmer  an. 


3Jietn  ^err  Sftagifter  Sobefan, 
Safe  (Sr  mtdf?  mtt  bem  ®efe^  in 
2635  Unb  ba§  fag'  td^  %t)m  lurj  unb  gut, 

2Benn  ntdbt  ba§  fiifee  junge  S3Iut 
§eut  9la$t  in  metnen  2lrmen  rufyt, 
©o  ftnb  toir  um  9Kittemaa)t  gefd^ieben. 

3K  e  $  I)  i  ft  o  $  f?  e  I  e  3. 
Sebenft  h>a§  ge^n  unb  fte^en  mag  ! 


124 


%tf)  braucfye  toenigftenS  tnerjefyn  £ag,  2640 

•iftur  bie  ©elegenfyeit  auSjuftouren. 

5  a  u  ft. 

£att'  icfy  nur  fteben  6tunben  Dlulj, 
Sraucfyte  ben  £eufel  nicfyt  baju, 
@o  ein  ©efcfyopfcfyen  ju  berfii^ren. 

3Ji  e  p  $  i  ft  o  $  b  e  I  e  8. 

Sfyr  fprecfyt  f  cfyon  faft  h)te  etn  ^ranjoS  ;  2645 

£>ocfy  bitt  id^',  Iafet'3  eud^  nid^t  berbrie^en  : 
2Ba§  gift's  nur  grabe  ju  geniefjen? 
3)ie  greub'  ift  lange  nicfyt  fo  gro^, 
21I§  toenn  il)r  erft  ^erauf,  ijerum, 

atterei  Srimborium,  2650 

ii^^c^en  gefnetet  imb  jugerid^t't, 

le^ret  manege  toalfd^e 

gauft. 
d  of^ne  ba§. 


t  o^ne  (Sc^im^f  unb  o^ 

fag'  eu^,  mit  bem  fcfyonen  ^inb  2655 

em*  fiir  aHemal  nidpt  gefd()h)inb. 
•JJlit  <3titrm  ift  ba  nic^t§  einjunefymen  ; 
9Bir  miiffen  un§  jut  2ift  bequemen. 

t^auft. 

f'  mir  ettoa§  bom  @ngel§fd§a^  ! 
id9  an  ii)ren  3tu^ebla|  !  2660 

mir  ein  §al§tucfy  toon  ibrer  33ruft, 
6trumpfbanb  meiner  2iebe§Iuft  ! 


125 


2)amit  ifyr  fefyt,  bafj  id?  eurer  $ein 
2BiU  fdrberlicb,  unb  bienftlicfc,  fein  ; 
2665     2SoUen  toir  leinen  2lugenblicl  berlteren, 
SBitt  eud^  notf)  fyeut  in  i^r  3^^cr  fii^ren. 


Unb  fott  fte  fe^n?  fie  fya&en? 

3K  e  )>  ^  i  ft  o  ^j  Ij  e  I  e  §. 
SKein! 

@ie  h)irb  Bet  einer  -ftacfy&arin  fein. 
^nbeffen  lonnt  i^r  ganj  aUein 
2670      2ln  atter  §offnitng  fiinft'ger  greuben 
3n  i^rem  SDunftfreiS  fatt  euc^  toeiben. 

gfoufL 

h)ir 


@§  ift  nod?  ju  frii^. 
gauft. 

©org'  bu  mir  fiir  ein  ©efcfyenf  fiir  fte  ! 
316. 

2ft  e  p  ^  i  ft  o  $  i)  e  I  e  8. 

©Iet$  fc^enfen?  2)a§  ift  brab!  35a  toirb  er  reflfftren! 
2675      %$  fenne  mancfyen  fd§6nen 
Unb  mand^en  alt  bergrabnm 
3<^  ntujj  ein  bt^en  rebibiren. 


Wettb. 

©in  IletneS  r  e  i  n  I  i  cfy  e  §  3  i  m  m  e  r. 


2ftargarete  ifyre  3°Pfe  fletfytenb  unb  cwfbinbenb. 
•Btargarete. 

$cf)  gab'  ttm§  brum,  toenn  id)  nur  tt)il^t' 

3Ber  ^eut  ber  §err  getoefen  ift  ! 

@r  fa!^  getoi^  rerfjt  toatfer  au§,  2680 

Unb  ift  au§  einem  eblen  §au§  ; 

fount'  id^  if>m  an  ber  ©time  lefen  — 
U)dr'  auc^>  fonft  nic§t  fo  !ed  getoefen. 


§erein,  ganj  leife,  nur  fyereiu  ! 

^  a  u  ft  nad^  einigem  @ttEf(^rt)etgen. 
^^>  bitte  bid?,  lajj  mid§  affeiu  !  2685 


^ic^t  jebe§  3Jldbd^en  fyalt  fo  rein. 

2lb. 

^  a  U  ft  rings  auffdjaitenb. 
SBiHIontmen  fitter  3)dmrnerfd^ein  ! 
2)er  bu  bie§  §eiligt^um  burcfytoebft. 
(Srgreif  mein  §erj,  bu  fujje  Siebe^ein! 


SIbenb.  127 

2690     £>ie  bu  bom  £f)au  ber  £offnung  fdEjmac^tenb  lebft. 
SOSie  atfymet  ring§  ©efiifyl  ber  (StiUe, 
25er  £)rbnung,  ber  gufriebenbeit  j 
2>n  biefer  3lrmut^)  h>eld)e  giiUe  ! 
2>n  biefem  Verier  toelcfye  ©eligleit! 

(Sr  toirft  ftd)  auf  ben  lebernen  ©effet  am  S3ette. 

2695      0  nimm  midj>  auf  !  ber  bu  bie  SSortoelt  fd^on 

Set  ^reub'  unb  ©cfymerj  im  offnen  2lrm  empfangen  ! 

2Bte  oft,  acl^  !  fyat  an  biefem  SSdter=^^ron 

<5djon  etne  (Sd^aar  toon  ^inbern  ring§  geE>angen  ! 

SSteHetd^t  ^at,  banfbar  fiir  ben  ^eil'gen  6§rtft, 
2700     3Kein  Sieba^en  ^ter,  mit  boffen  ^inbertoangen, 

!Dem  2(^n^errn  fromm  bie  toelfe  §anb  gelu$t. 

^d^  fiifyr,  o  SJlabd^en,  beinen  ©eift 

SDer  ^iitt'  unb  Drbnung  urn  rnirf)  fdufeln, 

2)er  miitterlid^  bid^  taglicfy  untertoeif't, 
2705      3)en  Jep^i4)  auf  ben  Xifcf?  btcf)  reinlic^  breiten  fyeifjt, 

©ogar  ben  (Sanb  ju  beinen  ^ii^en  Ira'ufeln. 

D  liebe  §anb  !  fo  gottergleid^  ! 

2)ie  §iitte  toirb  burd^  bid)  ein  §immelreid;. 

Unb  fytt  ! 

6r  ^ebt  einen  Setttior^ang  auf. 


fa^t  mid^  fiir  ein  2Bonnegrait§  ! 
2710      $ivc  mocfjt'  itf)  botte  (Stunben  fdumen. 

•ftatur  !  §ier  bilbeteft  in  leidfyten  2;rd'umen 

2)en  eingebornen  6ngel  au3  ; 

§ier  lag  ba§  $inb  !  mit  toarmem  Seben 

3)en  jarten  33ufen  angefiittt, 
2715      Unb  fyier  mit  ^»eilig  reinem  SBeben 

Snttoirfte  fia)  ba§  ©otterbilb  ! 


128 


Unb  bu  !    2Ba3  f>at  bid;  fyergefiifyrt  ? 

2Bie  innig  fufyl'  id)  mid)  geriifyrt  ! 

2Ba§  totUft  bu  fyier  ?    2Ba§  toirb  ba§  £erj  bit  fd;toer  ? 

2lrmfel'ger  $auft  !  ic^  lenne  bt^  nic^t  me^r.  2720 


Itmgibt  tntcfy  ^ier  ein 

5Rid^  brang'S  fo  g'rabe  ju  geniefeen, 

Unb  fii^Ie  mid^  in  SiebeStraum  jerflte|en  ! 

6inb  tt)ir  ein  ©piel  toon  jebem  S)rudE  ber  Shift? 

Unb  trdte  fie  ben  2lugenbli<f  ^erein,  2725 

2Bie  toitrbeft  bu  fiir  beinen  ^reuel  biifjen! 
2)er  gro^e  ^>an§,  ac^t  toie  fo  !Iein  ! 
Sag',  fyingefcfymoljen,  if>r  gu 


3Ji  e  ))  ^  i  ft  o  p  ^  e  I  e  8. 
©efdjtoinb  !    $$  fe^)'  fie  unten  fommen. 


gort  !   lycfy  !e^>re  nimmerme^r  !  2730 


ift  ein  ^aftdjen  leiblid;  fd;h)er, 
too  anberS  ^ergenommen. 
l>ier  nur  immer  in  ben  <3d;rein, 
Sdj  fd)h)5r'  eud;,  i^r  berge^n  bie  ©innen; 
^d;  t^at  eud;  @ad;eld;en  ^inein,  2735 

Urn  eine  anbre  gu  getoinnen. 
3toar  ^inb  ift  $inb  unb  ©|>icl  ift 

5  a  u  ft. 
Sd;  toei^  nid;t  foil  id;? 


Sbenb.  129 

3ft  c  $  *>  i  ft  o  p  ^  e  I  e  8. 

gragtityr  biel? 

!0letnt  ifyr  inetteicfyt  ben  (Scfyaij  ju  hmbren? 
2740  ©ann  ratty'  icfy  eurer  Stifternfjett, 

3)ie  liebe  fcfyon*  StageSjeit 
Unb  mir  bie  toeitre  2J?u^  jit  fyaren. 
^d^  boff  nid^t  ba^  if»r  geijig  feib ! 
^d^  frat}'  ben  ^o!j3f,  reib'  an  ben  §anben  — 
6r  fieltt  ba8  ^aftd^en  in  ben  ©d)rein  unb  briirft  ba«  @<^to^  wiebcr  ju, 
2745  9?itr  fort !  gefcfynnnb !  — 

Urn  eud^)  ba3  fii^e  junge  ^inb 
Watf)  £erjen§  SSunfc^  unb  SSiH'  ju  toenben ; 
Unb  t^r  fe^t  bretn, 
2llg  fotttet  i^>r  in  ben  ^orfaal  ^inein, 
2750  31I»  [tiinben  grau  leib^aftig  Dor  eud§  ba 

?P^fil  unb  3Retaj)^fica ! 
9tor  fort ! 

216. 

SWorgarete  mit  einer  ?ampe. 

SJiargarete. 
@§  ift  fo  fcfytoiil,  fo  bum^fig  tyie 

@ie  mad^t  ba§  genjler  auf. 
Unb  tft  boc§  eben  fo  toarm  ntd^t  brau^'. 
2755  (53  nnrb  mir  fo,  id^  ioeijj  nid^t  toie  — 

3d9  toottt',  bie  Gutter  fa'm'  nac^  ^aug. 
SJtir  lauft  ein  ©d^auer  iiber'n  ganjen  Seib  — 
33in  bocfy  ein  t^orid^t  furd^tfam  2Beib  ! 
@te  fangt  an  ju  fmgen,  inbem  fte  ftt^  ait«gie^t. 

(S3  toar  ein  ^onig  in  Stfyule 
2760  ©ar  treu  bi§  an  bas  ©rab, 


130  5ouP-    (Srfler  Sljetl. 


2)em  fterbenb  feme 
©inen  golbnen  SBecfyer  gab. 

@§  ging  ifym  nirf;t§  bariiber, 

6r  leerf  ifyn  jeben  (ScfymauS  ; 

2)ie  2(ugen  gingen  if>m  iiber,  2765 

@o  oft  er  tran!  barauS. 

Unb  al§  er  lam  ju  fterben, 

3ai)It'  er  feine  ©tcibt'  im  9letc§, 

©onnt'  atte§  fetnem  ©rben, 

S)en  Seeder  nid^t  jugleid^.  2770 


Gr  fa^  bei'm 

S)ie  Slitter  um  i^n  {)er, 

2luf  fyofyem  Waters  Saale, 

2)ort  auf  bem  <Srf)lofc  am  3Reer. 


2)ort  ftanb  ber  alte  3e^er/  2775 

'Zrant  letjte  Seben§glutf), 
Unb  toarf  ben  fyeittgen 
§inunter  in  bie 


(5r  fa^>  i^n  ftiirjen,  trinfen 
Unb  finlen  tief  in'§  SReer,  2780 

S)ie  Slugen  tE>aten  ifym  ftn!en, 
2;ranl  nie  einen  $£ro!pfen  me^r. 

@ic  erbffnet  ben  ©djrein,  i^rc  ^teiber  etnguraumen,  unb  erfcttcft  ba« 
@(f)tnu(ffaftd)en. 

!ommt  ba§  fd^one  ^aftd^en  ^ier  ^eretn  ? 
fcf)Iofe  boc^)  gang  getoijj  ben  Serein. 


Sbenb.  131 

2785  S§  ift  bod?  ttmnberbar !    2Ba§  mag  tool)!  brinne  fein? 

SBietteidit  6rad?t'3  jemanb  al§  ein  $Pfanb, 

Unb  meine  Gutter  liel)  barauf. 

5Da  fyangt  ein  @d)luffeld?en  am  SBanb, 

!^d)  ben!e  n)ol?l  id?  mad?'  e§  auf ! 
2790  2Ba§  ift  ba§  ?    ©ott  tm 

<So  lra§  ^ab'  id)  mein' 

Gin  @d)mucf !    9Hit  bem  lonnt'  eine  ©belfrau 

2lm  fyocfyften  geiertage  geF)n. 

2Bie  fotttc  mir  bie  flette  ftel)n? 
2795  5S^m  mag  bie  §errlid;f eit  ge^oren  ? 

@ie  pu^t  ftc^  bamit  auf  itnb  tritt  ttor  ben  @piegeL 

jBenn  nur  bie  D^rring'  meine  toaren ! 

3Jian  fteE>t  bod?  gleid?  ganj  anber§  brein. 

2Ba§  (>ilft  eud?  6d;on^eit,  junge§  Slut? 

3)a§  ift  too^I  atte§  fd?on  unb  gut, 
2800  Stttein  man  lafji'S  aud)  atteS  fein ; 

2Jian  lobt  eud)  ^>aI6  mtt  (Srbarmen. 

9^ad)  ©olbe  brangt, 

2lm  ©olbe  ^>angt 

Sod;  aHeg.    2ld)  toir  2lrmen  ! 


in  ©ebanfen  auf  unb  ab  gefyenb.    3" 


33ei  after  toerfcfytnafyten  Siebe  !  SBei'tn  ^ottifd^en  ©lemente  !  2805 
3$  tooHt'  id&  toiifjte  toa§  3lrger«,  bafe  ic^'S  flucfyen  fonnte  ! 


2Ba§  $aft?  h?a§  Inei^t  btd^  benn  fo  fe^r? 
@o  f  ein  ©eftc^t  fafy  ic^  in  meinem  Seben  ! 

3K  e  ^3  ^  t  ft  o  j)  ^  e  I  e  §. 

^c§  modjt'  mid^  gleic^  bem  5CeufeI  iibergeben, 

SBenn  ic§  nur  felbft  fein  SCeufel  h)ar'  !  2810 


§at  ftc^  bir  toa§  im  ^opf  berfd^oben? 
3)id9  f  leibet'S,  iotc  ein  9taf  enber  311  toben  ! 

2W  e  ))  &  i  ft  o  }>  &  e  I  e  3. 

2)en!t  nur,  ben  (Sd^tnucf  fiir  ©retdfjen  angefd§afft, 
S)en  ^  at  ein  $faff  i)  iniDeggerafft  !  — 
3)ie  SRutter  Iriegt  ba§  2)ing  ju  fcfyauen,  2815 

©letc^  f  angt'3  i^r  ft,  eimlid^  an  ju  grauen  : 
5Die  ^rau  ^at  gar  einen  fetnen 
immer  im  ©ebetbucfy, 


©pajiergang.  133 

Unb  riedjt'S  einem  jeben  2ftbbel  an, 
282o  D6  ba§  SDing  I)  eilig  ift  ober  profan  ; 

Unb  an  bent  <2rf)murf  ba  ftoiirt  fie'S  liar,         * 

35afe  babei  nicfyt  toiel  ©egen  toar. 

SJietn  $inb,  rief  fie,  ungererf)te§  ©lit 

Sefangt  bie  ©eele,  je^rt  auf  ba§  Slut  ; 
2825  SSotten'g  ber  Gutter  @otte§  hjei^en, 

2Sirb  un§  mit  ^tmmelgs^Ranna  erfreuen  ! 

3JlargretIetn  jog  ein  fd&tefeS  S^aul, 

^ft  ^alt,  bad)t'  fie,  ein  gefd^en!ter  ©aul, 

Unb  toafyrltd)  !  gottlo§  ift  nicfyt  ber, 
2830  S)er  tyn  fo  fein  ge&radfyt  tjier^er. 

S)ie  Gutter  Ite^  einen  ^Pfaffen  fommen  ; 
!aum  ben  <5paJ5  bernommen, 
ben  5InbIidE  h)D^)I  Be^agen. 

@r  f!j)ra<^  :   <5o  ift  man  red)t  gefinnt  ! 
2835  2Ber  itberiuinbet  ber  getoinnt. 

S)ie  ^ird^e  ^at  einen  guten  SRagen, 

§at  ganje  Sanber  aufgefreffen, 

Unb  bod^  norf)  nie  fidj>  iibergeffen  ; 

2)ie  $irc&/  attein,  meine  lieben  ^rauen, 
2840  $ann  ungerecf>te§  ©ut  berbauen. 


ift  ein  attgemeiner  Sraucfy, 
'  unb  ^onig  !ann  e§  aud?. 


©trid?  brauf  ein  ©pange,  ^ett'  unb  3fJing', 
21I§  h)dren'§  eben  ^fifferling', 
2845  2)an!t'  nid^t  toeniger  unb  nidjt  me^r, 

21I§  ob'§  ein  £orb  bott  5Ruffe  tear', 


134 


23erfprarf>  tfwen  alien  ^tmmlifd^en  2oljm  — 
Unb  fte  toaren  fefyr  erbaitt  batton. 

5  a  u  ft. 
Unb@retd)en? 

m  e  $  f)  i  ft  o  p  &  e  I  e  8. 

©i£t  nun  unrufytooH, 

SBeifj  tt>eber  h>a§  fie  h)iE  nod)  foil,  2850 

2)enlt  an'§  ©efc^meibe  Xag  unb  SZac^t, 
me^r  an  ben  ber'§  i^r  gebrac^t. 


Stebd^enS  Summer  tl^ut  mir  letb. 
ajf'  bu  tl^r  gleicfy  ein  neu  ©efd^meib'  ! 
2lm  erften  toar  ja  fo  nicfyt  toiel.  2855 

3JI  e  $  fy  t  ft  o  p  ^  e  I  e  8. 
D  ja,  bem  §errn  ift  atteS 


Unb  macfy',  unb  rid^t'8  nad^  metnem  ©inn, 

§ang'  bid§  an  ifyre  9iac^barin  ! 

@ei  Xeufel  bod)  nur  nicfyt  toie  33rei, 

Unb  fdjaff  einen  neuen  ©c^mud  Ijerbei  !  2860 

W.  e  p  ^  i  ft  o  j>  ^>  e  I  e  8. 

^a,  gndb'ger  §err,  toon  §er$en  gerne. 
gaufi  ab. 

2)?  e  $  %  i  ft  o  $  $  e  I  e  8. 
©o  ein  berliebter  £fyor  toerpitfft 
@ud)  ©onne,  SRonb  unb  atte  ©terne 

bem  2iebd;en  in  bie  2uft. 
86. 


SWartlje  atlein. 


2865  ©ott  toerjeify'S  meinem  lieben  Sftann, 

6r  fyat  an  mir  nicfyt  iuo^I  getfyan  ! 
©efyt  ba  ftradte  in  bte  SSelt  ^tnetn, 
Unb  Ici^t  mic^  auf  bent  <Stro^  aHein. 
%f)at  tfyn  bod^  tt)a^rlid§  nic^t  betrilben, 

2870  Sfyat  i^n,  toei^  ©ott,  red^t  ^erjlid^  lieben. 

@ie  wetnt. 

SBieHeirfrt  ift  er  gar  tobt  !  —  D 
£a'tt'  id)  nur  einen  Xobtenfc^ein  ! 
9Kargarete  !ommt. 

Margaret  e. 


©reteld^en,  toa§  jott'S? 
3Jiargarete. 
ftn!en  mir  bie  $niee  nieber  ! 
2875  ®a  f^'  ^  f°  e^n  $flftd?en  toieber 

^n  meinem  (Sd^rein,  bon  (Sben^olj, 
Unb  (Sadden  i>errlic^  gang  unb  gar, 
SBeit  reiser  al§  ba§  erfte  luar. 

(«35) 


136  ftaufi-    ®rfter 


m  a  r  t  $  e. 

mufj  6ie  nid^t  ber  Gutter  fagen  ; 
at's  toieber  gleid^  jur  Seidfjte  tragen.  2880 

Margaret  e. 
2lcfy  f  efy'  @ie  nur  !  ad^  fcfyau'  @ie  nur  ! 

3Jt  a  r  1  1)  e  pufet  fte  auf. 
D  bu  gliicffePge  Sreatur  ! 

•Dtargarete. 

mid^,  leiber,  nicfyt  auf  ber  ©affen, 
in  ber  ®ircfye  mtt  feF>en  laffen. 


bu  nur  oft  ju  tnir  ^eriiber,  2885 

Unb  leg'  ben  (Sd^mudv  ^ier  Ijetmlici)  an  ; 
<S^)ajier'  em  ©tiinbcfyen  long  bent  @^iegelgla§  boriiber, 
•JBir  ^aben  unfre  ^reube  bran  ; 
Unb  bann  gibt'3  einen  Slnlajj,  gibt'g  ein  §eft, 
3Bo  man's  fo  nac^  unb  nac^)  ben  Seuten  fefyen  la^t.      2890 
(Sin  ^ettcfyen  erft,  bte  ^erle  bann  in'!  Dfyr  ; 
5Die  Suiter  fie^t'S  n)of)l  nid^t,  man  madjt  i^r  aud^)  n)a§  ttor. 

•UJtargarete. 

SBer  !onnte  nur  bte  beiben  $a'ftcf>en  bringen? 
©§  ge^t  nicfyt  ju  mit  rec^ten  SDingen  ! 


SWargarete. 

9  ®ott  !  mag  bag  meine  Gutter  fein?  2893 

3R  a  r  t  fy  e  bura)'«  3Sorf)angeI  gudfenb. 

ift  ein  frember  £>err  —  §erein  ! 

tritt  ouf. 


S)er  9?ad)baritt  §au«.  137 


23in  fo  fret  g'rab'  fyerein  ju  treten, 
SRujj  bei  ben  ^rauen  SSerjeifm  erbeten. 

£rttt  eljrerBiettg  »or  2ftargareten  juriidE. 
•JBoEte  nad^  ^rau  SRartfye  (Scfeioerbtietn  fragen  ! 


2900      ^d^  btn'§,  toa§  b,at  ber  §err  ju  fagen? 

3JUpb,tft0pb,eIe§  leife  au  i 
3^  fenne  ©ie  je^t,  mtr  ift  ba§  genug  ; 
@ie  ^at  ba  gar  bornefymen  5Be[uc^i. 
SSersei^t  bie  ^reib,  ett  bie  id^  genommen  ! 
2SiH  9?ad^mittage  toteber  fommen. 


laut. 

2905      Senf,  £inb,  urn  atteS  in  ber  2BeIt! 
3)er  §err  bidp  fur  ein  ^raulein  fyd'lt. 

Margaret  e. 
%d)  bin  ein  arme§  junge§  33Iut  ; 
2lc^  ©ott!  ber  §err  ift  gar  gu  gut: 

unb  ©efd^meibe  ftnb  nicfyt  mein. 


2910      2ld^,  e§  ift  nid^t  ber  ©d^mucf  aUein  ; 

<Sie  F)at  ein  2Befen,  einen  Slid  fo  fc^arf  1 
2Bie  freut  mid^'§  ba^  icfj  bleiben  barf. 

gjlart^e.  ' 
2Ba§  bringt  ©r  benn  ?    SSerlange  fe^r— 

gjle^^ifto^j^ele§. 
t'  icr)  ^att'  eine  frob,ere 


138 


fyoffe  @ie  lajjt  mtcfy'3  brutn  nid;t  biijjen:  2915 

3Jtonn  ift  tobt  unb  lajjt  <Sie  gritjjen. 


3ft  tobt?  bag  treite  £erg  !    D 
SJtein  3ftann  ift  tobt  !    2Tc^  i$ 

SJiargarete. 
2ld^  !  Itebe  ^rau,  berjtoeifelt  ntd^t  ! 


<3o  ^ort  bie  traurige  ©efd^ic^t'!  2920 

3Jiargarete. 

3^)  modjte  brum  mein'  Stag'  ni4)t  lie&en  ; 
2Burbe  mic^  SSerluft  ju  £obe  betriiben. 


'  mufc  Seib,  2etb  tnu^  ^reube  fyaben. 

^art^>e. 
mir  feineS  SebenS 


Sr  Uegt  in  ^abua  begraben  2925 

Sei'm  ^eiltgen  2(ntoniu§, 

2ln  einer  toofylgetoeifyten  ©tcitte 

3um  etoig  lifyhn  3tufyebette. 

3R  a  r  t  $  e. 
§abt  ii/r  fonft  ni$t§  an  mid^  gu  bringen? 


3a,  einc  S3ittc,  grofi  unb  f  djtoer  ;  2930 

Saff  @ic  bod?  ja  fiir  ifyn  breibunbert  SReffen  fingen  ! 
3m  iibrigen  finb  metne  Xafd^en  leer. 


2>er  SRadjbarin  §au«.  139 

2Kartb,e. 


©efdjmeib'? 

jeber  £anbioer!§&urfdj  im  ©runb  be§  ©arfell  fyart, 
2935     3um  Stngebenfen  aufbetoafyrt, 

Unb  lieber  Ijungert,  IteBer  bettelt  ! 


SRabam,  e§  t^ut  mir  ^erjlid^  leib  ; 
2lUein  cr  fyat  fetn  ©elb  toa^r^afttg  nicfjt  berjettelt. 
2lud^  er  bereute  feine  ^e^Ier  fe^r, 
2940     ^a,  unb  bejammerte  fein  Ungludf  nod^  biel  me^r. 

SRargarete. 

2ld^)  !  bafj  bie  9Jtenfd^en  fo  ungludflid^  ftnb  ! 

toiH  fiir  if)n  tnand^  Requiem  nod^  beten. 


%fy  todret  toert^),  gletcfy  in  bie  6^  ju  trcten  : 
3b,r  feib  ein  Iieben§toiirbig  ^inb. 

9Jiargarete. 
2945      2ld^  nein,  ba§  geb,t  je^t  nod^)  ni$t  an. 


t'§  nic^t  ein  SJlann,  fei'§  bertoeil'  ein  ©alan. 
'^  ift  cine  ber  grbfeten  ^immel^gaben, 
(So  ein  lieb  2)ing  im  2lrm  gu  l>aben. 

•Margaret  e. 
ift  be^  2anbe§  nic^t  ber 


2950     Sraucfy  ober  nic§t  !    63  gibt  ft$  aud^i. 


140 


mir  boclj  ! 


3$  ftanb  an  feinem  ©terbebette, 
@§  tear  toa§  beffer  al§  bon  9JHft, 
33on  fyalbgefaultem  ©trofy  ;  attein  er  ftarb  al3  Sfyrift, 
Unb  fanb  ba^  er  toeit  me^r  no^  auf  ber  gedje  ^atte. 
2Bic,  rief  er,  mujj  id^>  mid^  toon  ©runb  au§  ^affen,        2955 
(So  metn  ©etoerb,  tnein  2Beib  fo  ju  berlaffen  ! 
2td^  !  bie  ©rinnrung  tobtet  mid§. 
SSergab'  fie  mir  nur  nod^)  in  bief  em  2eben  !  — 

3K  a  r  t  f)  e  ttjeinenb. 
gute  3Jiann  !  i4)  fyab'  tym  Idngft  bergeben. 


2lffein,  n)ei^  ©ott  !  fie  toar  me^r  <3d;ulb  alg  id^.         2960 

3JUrtf>e. 
liigt  er  !    2Ba§  !  am  9lanb  be§  ©rab§  $u.  liigen  ! 


6r  fabelte  get»i^  in  letjten 

2Benn  \tf)  nur  fyalb  ein  tenner  bin. 

^jd^  fyatte,  f^rac^  er,  nid^t  jum  ,3ettbe$reib  ju  gaffen, 

(Srft  ^inber,  unb  bann  33rot  fur  fie  ju  fc^affen,  2965 

Unb  Srot  im  attertoeit'ften  ©inn, 

Unb  fonnte  nicfyt  einmal  metn  ^^>eil  in  ^rieben  effen. 


3JI  a  r  t  $  e. 

er  fo  aHer  ^reu',  fo  atter  2ieb'  bergeffen, 
2)er  ^Jladerei  bei  Stag  unb 


S)er  SRadjbarin  §au8.  141 


2970      %l\<fyt  bod),  er  fyat  eitdj  ^erglid^  bran  gebacfjt. 

©r  fbracf)  :    2113  icfy  nun  toeg  bon  SRalta  ging, 
2)  a  betet'  icfy  fiir  ftrau  unb  $inber  briinftig'  ; 
Un§  tear  benn  aiicfy  ber  §immel  giinftig, 
£)ajj  unfer  ©d^iff  etn  tur!ifc^  ^-afyrjeitg  fing, 

2975      S)a§  einen  @$a£  be§  gro^en  ©ultang  fill^rte. 
S)a  toarb  ber  ^a^ferleit  i^r  2ol)n, 
Unb  ic^  ent^fing  benn  aucfy,  h)te  fid^  gebii^rte, 
9Jiein  toofylgemeff  ne§  'Xfyeil  babon. 


3)1  a  r  t  $  e. 
i  hne  ?    (gi  too  ?    §at  er'g  mettetrf)t  bergraben  ? 


2980      2Ber  toet^,  too  nun  e§  bte  bier  SStnbe  baben. 
@tn  fd^one§  ^raulein  naf>m  fic^  feiner  an, 
2113  er  in  3^abel  fremb  um^erfbagierte  ; 
<Sie  fat  an  ifym  biel  2ieb§  unb  £re 
er'S  bi§  an  fein  felig  ©nbe  fbiirte. 


m  a  r  t  fj  e. 

2985      S)er  (Sc^elm  !  ber  3Meb  an  feinen  ^inbern  ! 
attel  (Slenb,  atte  3totb 
t'  nid^t  fein  fd^anblic^  Seben  ^inbern  ! 


^a  fefyt  !  bafiir  ift  er  nun  tobt. 
SSdr'  id§  nun  je|t  an  eurem 
2990      Setraurt'  ic^  if>n  ein  juc^tig  ^a^r, 

SSiftrle  bann  untertoeil'  nad^  einem  neuen 


142  goufl.    (Srfter  £f»eil. 


Slrf)  ©ott  !  hne  bo$  ntetn  erfter  tear, 

ginb'  icfy  ni$t  leidjt  auf  biefer  2BeIt  ben  anbern  ! 

6§  fonnte  !aum  etn  fyergiger  ^arrc^en  fein. 

©r  liebte  nitr  ba§  aHjubtele  2Banbern,  2995 

Unb  frembe  SSetbcr,  unb  fremben  Sein, 

Unb  bag  berflucpte  2BurfeIfpieI. 


,  nun,  fo  lonnt'  e§  gei>n  unb  ftefyen, 
2Benn  er  eud^)  ungefd^r  fo  biel 

S3on  fetner  <Sette  nad^gefei>en.  3000 

%3)  fd^n)5r'  euc^  gu,  mil  bem  Sebtng 
SSed^felf  icfy  felbft  ntit  euc^  ben 


D  e§  beltebt  bem  §errn  ju  fd^erjen  ! 

3)1  e  p  ^  i  ft  o  $  I)  e  I  e  3  fur  ftrf). 
•ftun  macfy'  id^  mid§  bet  3dten  ^ort  j 
2)ie  fytelte  too^I  ben  Steufel  felbft  bet'm  2Bort.  3005 

3u  ©rett^en. 
2Bte  fte^t  e§  benn  mit  3$retn  Bergen? 

3Jiargarete. 
2Ba^  metnt  ber  §err  bamit  ? 

3JI  e  p  ^  i  ft  o  p  ^  e  I  e  §  fiir  ft^. 

$u  gut§  unfcfyulbtgS 
Saut. 
2ebt  toofyl  il>r  ^raun  ! 

3Jlargarete. 
Sebt 


S)er  ftadjbcmn  £au«.  143 

m  a  r  t  b,  e. 

D  fagt  mir  bocb,  gefcb,  toinb  ! 
%<§  mocfyte  gern  ein  3eugnifj  fyaben, 

3010      2Bo,  tote  unb  ttmnn  mein  ©cfyats  geftorben  unb  begraben. 
$$  bin  bon  je  ber  Drbnung  ^reunb  getoefen, 
t'  tfyn  auc§  tobt  int  SSoc^enblattd^en  lefen. 


^a,  gute 

2Birb  atferioegS  bie  3Ba^rI>eit  lunb  ; 
3015      §abe  nod^)  gar  etnen  feinen  ©efetten, 

3)en  tottt  id^  eucfy  bor  ben  Stic^ter  fteEen. 
S^>  bring'  i^n  ^er. 


D  tfyut  bag  ja  ! 
gftetofyiftopfyeleS. 
Unb  ^)ier  bie  ^ungfrau  ift  aitd?  ba  ?  — 
@in  bratoer  ^nab'!  ift  biel  gereift, 
3020     $rautein§  atte  ^oflic^leit  ertoeift. 

•JJtargarete. 
2JZufete  bor  betn  §erren  fcfyamrotb,  toerben. 

3Ji  e  b  I)  i  ft  o  b  b,  e  I  e  «. 
SBor  leinem  ^onige  ber  ©rben. 

3Rartb,e. 

3)a  ^inter'm  §au§  in  tneinem  ©arten 
SBotten  toir  ber  £>errn  ^eut  2lbenb  toarten. 


©  t  r  a  ft  e. 

gauft. 


gauft. 
2BtetfTg?    SBUTgfBrbern?    2BiIT§  balb  gefyn  ?  3025 

3Ji  e  p  fy  i  ft  o  p  fy  e  I  e  g. 
2l!>  Brabo  !    ^inb'  tcfy  eu4)  in 
3»n  lurger  3^it  tft  ©retd^en  euer. 

2lbenb  fofft  ii)r  fie  bei  3fia4) 

ift  ein  2Beib  tote  auSerlefen 
3um  ^u^Iers  unb  giQeunertoefen  !  3030 

5  o  u  ft. 
@o  red^t  ! 


toirb  auc§  toa§  toon  un§  bege^rt. 

Sauft. 
©in  3)ienft  ift  too^I  be§  anbern  toertlj. 


Sir  legen  nur  ein  gtiltig  3^ugni§  nieber, 

ifyreS  (S^errn  auSgeredtte  ©lieber 
$abua  an  ^eil'ger  ©tatte  ru^n.  3035 


flug  !    2Bir  toerben  erft  bie  3teife  macfjen  miijfen  ! 

(144) 


©trage.  145 

3ft  e  j>  I)  i  ft  o  p  fy  e  I  e  3. 

Sancta  Simplicitas  !  barum  ift'§  nidjrt  ju  tfyun  ; 
Sejeugt  mtr  ofyne  biel  ju  ftriffen. 
5  a  it  ft. 
2Benn  @r  nicfyts  33effer§  fyat,  fo  ift  ber  tylan  jerriffen. 

3R  e  j>  |  i  ^  o  i»  ^  e  I  e  8. 
3040  D  ^eil'ger  SRann  !    2)a  n>drt  i^r'^  nun  ! 
$ft  e§  ba§  erftemal  in  eurem  Seben, 
r  falf^  B^9niB  abgelegt? 
r  bon  ©ott,  ber  2BeIt  unb  toa§  f:d^  brin  betoegt, 
SBom  SRenfd^en,  toa§  fid^  i^m  in  $opf  unb  §erjen  regt, 
3045  £)efinitionen  nid^t  mit  grower  $raft  gegeben? 
9Kit  fred^er  ©time,  fiifyner  Sruft? 
Unb  tnottt  i^r  recfyt  in'^  ^nnre  S^^n, 

ifyr  baton,  i^r  mii^t  e§  g'rab'  gefte^en, 
biel  al§  toon  ^errn  ©d^ioerbtlemg  SCob  getoufjt  ! 


3050  2)u  bift  unb  bleibft  ein  Siigner,  ein 


^a,  toenn  man's  nicfyt  ein  bi^en  tiefer  toiifjte. 
S)enn  morgen  toirft,  in  alien  ©fyren, 
2)a§  arme  ©retdjen  nicfyt  betfioren, 
Unb  aCle  ©eelenlieb'  il)r  fd^inoren? 


3055  Unb  gtoar  oon 


©ut  unb  fd^on  ! 
2)ann  h)irb  oon  ehnger  Xreu'  unb  Siebe, 


146  goufh    (Srfler 


SBon  einjig  uberaEmcid)fgem  £riebe  — 
2Birb  ba3  aud)  fo  bon  §erjen  gefyn? 


Safe  bag  !  (B  totrb!  —  SSenn  ic^  empfinbe, 

giir  ba§  ©efii^I,  fiir  ba§  ©etoii^l  3060 

9Zad^  Seamen  fucfye,  fetnen  finbe, 

2)ann  burc^  bte  2BeIt  tnit  aUen  ©innen  fcfytoetfe, 

Wad)  atten  ^oc^ften  SSorten  gretfe, 

Unb  biefc  ©Iiit^,  toon  ber  \$  brenne, 

UnenbUd^,  eioig,  eirng  nenne,  3065 

3ft  bag  etn  teuflift^  Sugenf^iel? 


tyab'  boc^ 


§6r'  !  mer!'  bir  bie^  —  - 
3$  bitte  bid),  unb  fd)one  metne  2unge  — 
9Ber  3fied)t  be^alten  toitt  unb  fyat  nur  eine  3un9e/ 
S3e^alt'§  getoijj.  3070 

Unb  lomm,  id)  fyab'  be§  @d)it>a§en§  liberbru^ 
S)enn  bu  fyaft  S^edjt,  borjuglid;  lt>eil  id)  mufj. 


©  a  r  t  e  tt. 

iKorgarete  an  gaujlens  2lrm,  2ftartlje  tnit 
p  I)  e  I  e  8  auf  unb  ab  fpajierenb. 

SRargarete. 

P  c§  toofyl,  bafe  micfy  ber  ^>err  nur  fd^ont, 
ftdj  Ici^t,  mid^  ju  befd^amen. 
3075  @tn  9letfenber  ift  fo  getooljnt 
2lu§  ©uttgfeit  fiirlieb  gu  nefymen  ; 
3<^  tt»ei|  ju  gut,  bajj  fold^  erfa^rnen  9Jiann 
•JUletn  arm  ©efprac^  nid^t  unter^alten  fann. 


©n  SUcf  bon  bir,  ©n  SOBort  me^>r  unter^dlt, 
3080  21I§  atte  SBetS^eit  biefer  SBelt. 

6r  fufet  i^re  §anb. 

SJiargarete. 

^jncommobirt  euc^  nid^t  !    2Bte  !onnt  t^r  fte  nut  luffen  ? 

@ie  ift  fo  garfttg,  ift  fo  rau^>  ! 

2Ba§  I>ab'  id^  nid§t  f  cfyon  atte§  fc^affen  miiffcn  ! 

2)ie  Gutter  ift  gar  ju  genau. 

©eljn  oorflber. 


3085  Unb  ifyr,  mein  §err,  i^r  reif't  fo  immer  fort? 

(t47) 


148  8<"ift-    Softer  £l)eil. 


21$,  bajj  ©etoerb'  unb  $fli$t  un§  baju  treiben  ! 
3Jlit  tote  bid  ©djimerg  toerlafet  man  man$en  Drt, 
Unb  barf  bo$  nun  einmal  ni$t  bleiben  ! 


^n  rafc^en  ^a^ren  ge^t'g  toofyl  an, 
(So  um  unb  urn  fret  burd)  bte  2BeIt  ju  ftretf  en  ;  3090 

2)o$  lommt  bte  bofe  3^it  ^eran, 
Unb  ft$  al§  ^ageftolj  attetn  gum  ©rab  ju  f$Ieifen, 
letnem  too^I  getl>an. 


3ft  e  p  ^  t  ft  o  £  Ij  e  I  e  §. 
3Jitt  ©raufen  fefy'  i$  ba§  toon  toetten. 

9ft  art  I?  e. 

,  toert^er  §err,  Berat^et  etidj  in  3etten.  3095 

©e^n  Dorii&er. 

3Jiargarete. 
,  au§  ben  2lugen,  au§  bem  ©inn  ! 


©te  ^ofli$lett  ift  eu$  gelduftg  ; 
2lttetn  i^r  ^abt  ber  ftreunbe  ^aufi 
@te  jinb  berftcinbtger  ate  t$  bin. 


D  Sefte !  glaube,  toa§  man  fo  toerftdnbig  nennt,          3100 
3ft  oft  me^r  (gitelfeit  unb 


2Jiargarete. 

2Bie? 


©arten.  149 


fjauft. 

21$,  bafj  bie  (Stnfalt,  bafj  bie  Unfcfyulb  me 
©id;  felbft  unb  ifyren  fyeil'gen  2Bertfy  erlennt  ! 
3)afj  SDemutf),  -ftiebrigfeit,  bie  fyb'djften  ©aben 
3105  2)er  liebetooE  au§tfyeilenben  Sftatur  — 

•JDtargarete. 

2)enft  i^r  an  micfy  ein  2lugen6Iidfa;en  nur, 
$30;  toerbe  3^  S^nug  an  eud^  jit  benlen  ^aben. 


S^r  feib  toofyl  btel  attein? 

SJiargarete. 

3a,  unfre  SBirt^c^aft  ift  nur  Ilein, 
3110  Unb  bocfy  h)tH  fte  berfefyen  fein. 

2Bir  ^aben  feine  2ftagb  ;  mu^  lod^en,  fegen,  ftrtden 
Unb  nd^n,  unb  laufen  friify  unb  f^at  ; 
Unb  ntetne  Gutter  ift  in  aUen  ©tiiden 
@o  accurat  ! 

3115  9^tc^t  ba^  fie  juft  fo  fefyr  ftd^  einjufd^rdnfen  ^at; 
SBir  fonnten  ung  toeit  e^'r  al§  anbre  regen  : 
•Bfein  3Sater  fyinterliefj  ein  ^iibfd^  SSermbgen, 
Gin  £du§d)en  unb  ein  ©drta;en  bor  ber  <£tabt. 
SDoa^  F>ab'  id)  jefct  fo  jiemltd;  ftitte  Xagc  ; 
3120  -Bfein  SBruber  ift  ©olbat, 

a;n)efterd^en  ift  tobt. 
^atte  mit  bem  ^inb  tooty!  meine  liebe 
iibernd^m'  id;  gern  nod^  einmal  atte 
lieb  toar  mir  ba§  ^inb. 

gauft. 

(Sin  Gngel,  toenn  bir'S 


150  Sauft    (Srfter 


Margaret  e. 

%fy  gog  eg  auf,  unb  fyerjltcfy  liebt'  eg  midlj.  3125 

@g  tear  nadfj)  metneg  2Sater§  £ob  geboren. 

2)ie  Gutter  gaben  fair  berloren, 

@o  elenb  tote  fie  bamalg  lag, 

Unb  fte  erfyolte  ficfy  fe^>r  langfam,  nad^  unb  nadB,. 

2)a  fonnte  fie  nun  nicfyt  bran  benfen  3130 

2)a3  arme  SSurma^en  felbft  ju  trdnfen, 

Unb  fo  erjog  ic^'§  gang  attein, 

mt  gjiilc^  unb  SBaffer  ;  fo  toarb'g  mein. 

2luf  metnem  2lrm,  in  meinem  ©cfyooS 

freunblid?,  ja^elte,  toarb  grofj.  3135 


^aft  gehnfj  ba§  reinfte  ©liid  em^funben. 

Margaret  e. 
aud)  getot|  gar  manege  fd^loere  ©tunben. 


Siege  ftanb  j 
2ln  meinem  Sett,  e§  burfte  laum  fidj  regen, 
Sar  i$  ertoa^t  ;  3140 

33alb  mu^t'  i$'§  tranfen,  balb  e§  ju  mir  legen, 
SBalb,  ittenn'g  nic§t  fd^toieg,  bom  Sett  aufftefyn, 
Unb  tanjelnb  in  ber  Hammer  auf  unb  nieber  gefyn, 
Unb  frii^  am  £age  fd^on  am  2Bafd§trog  fte^n  ; 
3)ann  auf  bem  3Jlarft  unb  an  bent  §erbe  forgen,          3145 
Unb  immer  fort  hrie  fyeut  fo  morgen. 
35a  ge^t'§,  mein  §err,  ni$t  immer  mut^ig  ju  ; 
fdr>med:t  bafitr  bag  @ffen,  f$medEt  bie 
©eljn  Doruber. 


©arten.  151 


3K  a  r  t  fy  e. 

!Die  armen  28eiber  ftnb  bocfy  iibel  bran  : 
3150  Sin  §ageftolj  ift  fcfjtoerlirf)  ju  befefyren. 

2ft  e  p  ty  i  ft  o  &  $  e  I  e  §. 
6§  fame  nur  auf  ©ureSgleicfyen  an, 
id^  eine§  Sefjern  311  belefyren. 


(Sagt  g'rab',  mein  §err,  ^>abt  i^r  nod^  nt$t§  gefunben? 
§at  ftri^  ba§  §erj  nid^t  irgenbtoo  gebunben? 


3155  $)a§  ©prid^toort  fagt  :  ©n  etgner  §erb, 

Sin  brabeg  -JBeib,  ftnb  ©olb  unb  ^8etlen  toertfy. 

SWart^c. 
%<$  meine,  ob  ifyr  niemal§  Suft  befommen? 

2JI  e  p  ^  i  ft  o  p  ^  e  I  e  S. 
9Kan  ^at  mic^  iiberatt  rec^t  ^oflid^  aufgenommcn. 

m  a  r  t  fy  e. 
£5$  toottte  fagen:  toarb'g  nie  @rnft  in  eurem  §erjen? 

3Jle^^ifto^>^eIe§. 
3160  2Rit  grauen  foH  man  fi$  nie  unterfte^n  ju  fd§erjen. 

m  a  r  t  ^  c. 
21$,  ifyr  berfte^t  mi$  nidfjt  ! 


tbut  mir  fyerjUcfy  leib! 
i$  berftefy'  —  ba^  i^)r  fe^r  giittg  feib. 
®ebn  ooriiber. 


152  gaufl.    erfter  Sljeit. 

%**$• 

®u  fannteft  micfy,  o  fleiner  Sngel,  toieber, 
©leicfy  aU  \3)  in  ben  ©arten  lam  ? 

Margaret  e. 
ifyr  e§  nicfyt?  i$  fd^Iug  bie  Slugen  nieber.  3165 


Unb  bit  bersct^ft  bie  $reifyeit,  bie  id^>  na|m, 
2Ba§  fid^»  bie  gted^^eit  unterfangen, 
21I§  bu  jitngft  au§  bent  3)om  gegangen? 

Margaret  e. 

^5^>  ioar  Befturjt,  mir  tear  ba§  nie  gefcfyefyn  ; 

@§  lonnte  niemanb  toon  mir  ftbels  fagen.  3170 

2ld),  bad^t'  id^,  ^at  er  in  beinem  SBetragen 

red^eS,  UnanftanbigeS  gefef)n? 
fe^ien  i^n  gleidj  nur 
it  biefer  3)irne  g'rabe  ^in  311 
©eftefy*  ic|'§  bod;>  !    3^?  hntjjte  nid^t  toa§  fid^  3175 

3u  eurem  3Sorti>eil  ^ier  ju  regen  gleidj  begonnte  ; 
Slttein  getoife,  \fy  toar  red^t  bof  auf  micfy, 
id^  auf  eucfy  nid^t  bofer  h>erben  fonnte. 


Siebdjien  ! 

3)largarete. 

Safct  einmal  ! 
@te  ppcft  erne  ©ternblitme  unb  gupft  bie  ^Blotter  ab,  ein«  nac^  bcm  anbern. 


bag?  @inen  @trau|? 


©orten.  153 


3180     yitin,  e§  foH  nur  ein 


Sie? 

•JJlargarete. 

©efyt,  ifyr  lad&t  mi$  au3. 
@ie  rupft  unb  tnunnctt. 

^auft. 
SBaSmurmelftbu? 

3Jiargaretc  Ijatb  taut. 

@r  Itebt  mid^  —  Ue&t  mid^  nid^t. 

gaufr 
SDu  ^olbe§  ^tmme&»^i0efU^i  ! 

3Jiargarete  faf)rt  fort. 
SieBt  mid?  —  9tt$t  —  SieBt  mid?  —  9ttd?t  — 

2)a«  te^te  S3Iatt  ausrupfenb,  tnit 
@r  liebt  mid?  ! 


^3  a,  mein  £inb  !  Safe  btefe§  S3Iumentoort 
3185      2)ir  ©otterau§fi)rud?  fein.    @r  liebt  bic^  ! 

SBerjle^ft  bit,  toa§  ba§  ^eifet?    6r  liebt  bid?  ! 
(Sr  fo§t  iljre  Beiben  §anbe. 

3Jiargarete. 
id?  iiberlauft'S  ! 


D  fc^aubre  nid?t  !    Safe  biefen 
Safe  biefen  £>anbebrucf  bir  fagen, 


154  gaujt    (Srfler 


unauSfprecb,  Itcb,  ift  :  3190 

icfe,  fyinjugeben  gang  unb  eine  2Bonne 
$u  fufylen,  bie  etoig  fein  mufi  ! 
@n)ig  !  —  3b,r  @nbe  tottrbe  23er§toeiflung  fein. 
•ftein,  fein  @nbe  !    $ein  @nbe  ! 

SKargarete  briidft  il)tn  bie  §anbe,  mad^t  ftd^  Io«  unb  lauft  rteg. 
@r  fie^t  einen  Sdtgenblicf  in  ©ebanfen,  bann  folgt  er  i^r. 

9JI  a  r  t  $  e  fommenb. 
2)te  9la(^t  bric^t  an. 

3K  e  p  ^  i  ft  o  })  ^  e  I  e  3. 

£50,  unb  toir  tooften  fort.  3J95 

3Rart^e. 

^^  bat'  eudj  longer  ^ier  ju  bleiben, 
SlUein  e§  iji  ein  gar  ju  bbfer  £)rt. 
@g  ift  als  b,  atte  niemanb  nid^)t§  ju  treiben 
Unb  ni«^t§  ju  fcfyaffen, 

21I§  auf  be§  9?ad^barn  ©cfyritt  unb  SCritt  gu  gaff  en,      3200 
Unb  man  fommt  in'§  ©ereb',  h)ie  man  fid^  immer  ftettt. 
Unb  unfer  ^ard^en? 

m  e  $  b,  i  ft  o  $  $  e  I  e  8. 

£sft  ben  ©ang  bort  aufgeflogen. 
^Jiut^tDitt'ge  (Sommerbogel  ! 

3ttartb,  e. 

@r  fd^eint  ib,r  getoogen. 

gJle^^ifto^b.eleg. 
Unb  fie  ib,m  aud).    2>a§  ift  ber  2auf  ber  SSelt. 


t  n    ©artenljau3rf)en. 


i 

3ttargarete  ftmngt  Ijeretn,  ftecft  ftdj  Ijinter  bie  £!)ur,  Ijatt  bie 
fpifce  an  bie  Sippen  nnb  gucft  biird)  bie  3iifee. 


3Jiargarete. 

3205      @r  fotnntt  ! 

g  a  u  jt  fommt. 


21^,  ©d^elm,  fo  nedEft  bu  mid^  ! 

3;rcff  '  id?  bid?  ! 

(Sr  fii^t  fte. 

9Kargarete  t^n  faffenb  unb  ben  $ujj  guriidgebenb. 

Sefter  9Jlann  !  toon  Bergen  Ueb'  ic§  bid)  ! 
SKep^ijlop^eleS  Hopft  an. 

%  a  u  ft  ftompfenb. 
SOBerba? 


©ut  greunb  ! 


ift  toofyl  3dt  ju  fc^eiben. 
(•ss) 


156  8MI 

2ft  a  r  1  1)  e  lonrntt. 

3JUrt$e. 
^a,  e§  tft  fyat,  mein  £err. 

Srau|*. 

3)arf  idj  eud^  nid^t  geleiten  ? 

Margaret  e. 
2)ie  Gutter  toiirbe  mid^)  — 


id^  benn 
Sebt 


2lbe! 

Margaret  c. 

2luf  balbig  2Bieberfef>n  !  3210 

g  a  u  ft  unb  Wl  c  p  1)  i  fi  o  ^  ^  e  I  e  «  ab. 

Margaret  e. 
2)u  lieber  ©ott!  lt?a§  fo  etn  SRann 

,  afle§  benfen  lann  ! 

nur  fte^>'  id^>  Dor  i^m  ba, 
Unb  fag'  ju  alien  Sadden  ja. 

S3tn  bo<^  etn  arm  untoiffenb  ^inb,  3215 

Segreife  nicfyt  h)a§  er  an  mir  finb't. 


SSatb   iinb   §  5I)Ie. 

go  uft  allein. 

gfaufr 

Grb,abner  ©eift,  bu  gabft  mir,  gabft  ntir  aKe§, 
2Barum  id)  bat.    £)u  fyaft  mir  nid)t  umfonft 
3)ein  2lngeftd;t  tm  $euer  jugetoenbet. 

2220     ©abft  mtr  bie  ^errlid^e  ?Zatur  jum 
$raft,  fie  ju  fii^Ien,  ju  gemejjen. 
^alt  ftaunenben  S3efud^  erlaubft  bu  nur, 
SSergonneft  mir  in  ifyre  tiefe  Sruft 
2Bie  in  ben  33itfen  einel  greunbS  ju  fd^auen. 

3225      2)u  fii^rft  bie  SReifye  ber  Sebenbigen 

SSor  mir  borbei,  unb  Ieb,rft  rnici^  meine  Sriiber 
^m  ftitten  33uf4),  in  2uft  unb  2Baf[er  lennen. 
Unb  toenn  ber  (Sturm  im  2BaIbe  brauf  t  unb  Inarrt, 
S)ie  3faefenfid;>te  ftiirjenb  9^ad^bardfte 

3230     Unb  ^ad^barftamme  quetfc^enb  nieber  ftreift, 
Unb  ifyrem  ^aE  bum^f  b,  ob,  I  ber  £ugel  bonnert ; 
2)ann  fiib,r[t  bu  mid)  jur  fid)ern  §ob,le,  $eigft 
2Rid)  bann  mir  felbft,  unb  meiner  etgnen  Sruft 
©e^eime  tiefe  SBunber  offnen  ftd). 

3235      Unb  fteigt  Dor  metnem  33Iic!  ber  reine  3Jionb 
Sefdnftigenb  ^eriiber :  fcb,  ioeben  mir 
5Bon  gelfentoanben,  au^  bem  feudpten  S3ufd), 

(-57) 


158  goufl.    Erfler  S^eiL 

2)er  SSortoelt  ftlberne  ©eftalten  auf, 
Unb  Itnbern  ber  23etra$tung  ftrenge  Suft. 

D  baft  bent  5)?enfa;en  nirf)t§  SBofflomtnneS  toiro,          3240 
®m£finb'  idl?  nun.    £>u  gabft  gu  biefer  SSonne, 
3)ie  micfy  ben  ©ottern  nafy  unb  nd^er  Bringt, 
3Jitr  ben  ©efafyrten,  ben  id^  fc^on  ntd^t  meljr 
(Sntbe^ren  !ann,  toenn  er  gleidf),  !alt  unb  fred^, 
9Jiic^  Dor  mir  felbft  erniebrigt,  unb  gu  ntd^t§,  3245 

9Jiit  einem  SBortfyaudO,  beine  ©aben  toanbelt. 
@r  fac^t  in  meiner  33ruft  ein  totlbeS  geuer 
5iad^  jenem  fcfyonen  23ilb  gef4)dfttg  an. 
(So  taitml'  ic^  Don  SBegierbe  ju  ©enufc, 
Unb  im  ©enu§  berfc^mad^t'  id)  nacfy  Segierbe.  3250 

tritt  oiif. 


r  nun  balb  ba§  2eben  g'nug  gefiifyrt? 
2Bte  lann'^  eud^)  in  bie  2ange  freuen? 
©§  ift  toofyl  gut,  ba^  man'§  einmal  probirt  ; 
2)ann  aber  toieber  ju  toa§  5Reuen  ! 

8  a  u  ft. 

^jd^  hjottt',  bu  fyatteft  mei)r  ju  t^un,  3255 

2tl§  mid^  am  guten  £ag  ju  ^lagen. 

3Ji  e  p  ^  i  ft  o  j>  ^  e  I  e  §. 
37un  nun  !  id;  laff  bid^  gerne  ru^n, 
S)u  barfft  mir'S  nic^t  im  (grnfte  fagen. 
?ln  bit  ©efeUen  un^olb,  barfd?  unb  tott, 
^ft  hjaljrlid^  toenig  ju  berlieren.  3260 

3)en  ganjen  Xag  E^at  man  bie  £>dnbe  boH  ! 


2BaIb  unb  £oljte.  159 


ifcm  gefattt  unb  toa§  man  laffen  foil, 
$ann  man  bem  §errn  me  an  ber  5ftafe  fpiiren. 

ftauft. 

35a<S  ift  fo  juft  ber  red)te  Son  ! 
3265      (Sr  toitt  nod}  £)anf,  bajj  er  m\3)  ennu^trt. 

W,  e  $  $  i  ft  o  p  ^  e  I  e  3. 
2Sie  ^att'ft  bu,  armer  Srbenfofyn, 
25etn  Seben  o^ne  mid?  gefiif)rt? 
3Som  ^rib§lrab§  ber  imagination 
§ab'  id)  bid;  bod)  auf  geiten  Jang  curirt  ; 
3270      llnb  todr'  id?  nid;t,  fo  toarft  bu  fdBon 
3Son  btefem  ©rbbatt  abf^ajiert. 

^aft  bu  ba  in  iQofylen,  ^elfenri^en 
h)ie  ein  ©d^u^u  ju  berfiljen  ? 
fd)Iurfft  au§  bumpfem  ^lloo^  unb  triefenbem  ©eftein, 
3275      2Bie  eine  ^rote  5KaF)rung  ein? 
@in  fd)oner  fitter  ^cittoertreib  ! 
2)ir  ftedt  ber  2)octor  nod)  im  2eib. 

grattfL 

SSerfte^ft  bu,  hm§  fiir  neue  2eben§!raft 
2Jttr  biefer  SSanbel  in  ber  Dbe  fd^afft? 
3280      ^50,  ioiirbeft  bu  e§  a{)nen  lonnen, 

2)u  toareft  5teufel  g'nug  mein  ©liitf  mir  nid)t  ju  gonnen. 

2«e^^ifto^^ele§. 
-  (Sin  iiberirbi|d)e§  SSergniigen  ! 
%n  9^ad;t  unb  S^au  auf  ben  ©ebirgen  liegen, 
Unb  @rb'  unb  §immel  ironniglio)  umfaffen, 
3285      ,3u  einer  ©ott^eit  fid;  auffd)toetten  laffen, 

£>er  @rbe  2Rarf  mit  2(l)nung§brang  burdjinii^Ien, 


160 


2Itte  fecfy§  Xageiuer!'  im  SBufen  fiifylen, 

3>n  ftoljer  ®raft  icfy  toeifj  nidjt  lr>a§  geniefjen, 

SBalb  liebetoonniglidj  in  aHe§  iiberfliejjen, 

•JBerfdjftwnben  gang  ber  Csrbenfofyn,  3290 

Unb  bann  bie  fyobe  ^ntuition  — 

2)iit  einer  ©ebcirbe. 
^d^  barf  ntci^t  fagen  toie  —  ju  fd^Iie^en  ! 

.  Sfauft. 
^Pfut  iiber  bid^)  ! 

9Ji  e  j>  $  i  ft  o  ^  $  e  I  e  §. 
S)a§  toiH  eud^  nic^t  Be^agen  ; 

abt  ba§  3^ed^t  gefittet  ^>fui  ju  fagen. 

barf  ba§  nic^t  bor  leufd^en  Dfyren  nennen,          3295 

leufd^e  §erjen  nic^t  entbe^ren  lonnen. 
Unb  lurj  unb  gut,  id§  gonn'  ^fym  ba§  3Sergnugen, 
©elegentlid?  fid^  ettoaS  borjuliigen  ; 
2)oc^  lange  Ijalt  ©r  ba§  nici^t  au§. 
2)u  bift  fd^on  iuieber  abgetrieben,  3303 

Unb,  toafyrt  eg  longer,  aitfgerteben 
^n  ^Dttf>eit  ober  2lngft  unb  ©rau§. 
©enug  bamtt  !    2>etn  Siebc^en  ft|t  babrinne 
Unb  aQe§  toirb  t^r  eng  unb  trub. 

2)u  lommft  i^r  gar  nid^t  au§  bent  ©inne,  330^ 

<5ie  ^at  bicb  iibermad^ttg  lieb. 
6rft  lam  beine  SiebeStDut^  iibergefloffen, 
9Bie  bom  gefd^moljnen  <Sd§nee  ein  SBacfylein  ilberfteigt  ; 
2)u  ^aft  fie  ifyr  in'§  §erj  gegoffen  ; 

ift  betn  Sdd^lein  toieber  feid;t.  3310 

biinft,  anftatt  in  SBcilbern  ju  t^ronen, 
Stefj'  e§  bem  grofsen  ^erren  gut, 


2Balb  unb  §5I)Ie.  161 

crnne  affenjunge  Slut 

$iir  feme  Siebe  gu  belofynen. 
3315      25ie  3eit  toirt,  tyr  erbdrntltdfy  lang  ; 

<Sie  [tefyt  am  gtnfter,  ftefyt  bie  SBolfen  jiefyn 

tiber  bie  alte  ©tabttnauer  {>tn. 

2Benn  i$  etn  33oglein  ioar'!  fo  gefyt  i^r  ©efang 

Xagelang,  ^albe  9tacfyte  lang. 
3320      ©inmal  ift  fte  munter,  meift  betriibt, 

Gtnmal  recfyt  au§geh)eint, 

!55ann  toieber  ru^ig,  ftne'3  fd^emt, 

Unb  immer  berliebt. 


©flange  ! 

3Ji  e  p  ^  i  ft  o  J>  ^  e  I  e  3  far  ftdj. 
3325      ©elt  !  ba^  id^  bid?  fangc  ! 

gauft. 

SSerrud^»ter  !  fyebe  bid^  Don  ^innen, 
Unb  nenne  nirf)t  ba§  fc^bne  2Beib  ! 
Sring'  bie  Segier  gu  i^rem  fii|en  2eib 

toieber  bor  bie  ^albberriirften  (Sinnen  ! 


3)1  e  $  \)  i  ft  o  J)  ^  e  I  e  8. 

3330     2Ba§  fott  e§  benn  ?    <3te  meint,  bit  feift  entflo^n, 
Unb  ^alb  unb  ^alb  bift  bu  e§  fd^on. 

^auft. 

%<fy  bin  ifyr  nab,  unb  iuaV  idfj  nod^  fo  fern, 
^d^  fann  fte  nie  bergeffen,  nie  berlieren  ; 
^a  id^>  beneibe  f$on  ben  2eib  beg  §errn, 
3335      2Benn  i^re  Sibben  i^n  inbefj  berii^ren. 


162  ftouft-     (Srfter  £ljeil. 

3ft  e  j>  fy  t  ft  o  p  &  e  I  e  3. 
©or  toofyl,  tnetn  gteunb  !    ^dtj  ^a&'  eu$  ° 
r,  ba§  unter  9fofen  iueibet. 


fd)im^ft  itnb  id^)  mu^  lacfyen. 
©ott,  ber  33ub=  unb  ^abd^en  fd;uf, 
©rfannte  gleid?  ben  ebelften  S3eruf,  3340 

fel&ft  ©elegenl^eit  ju  macfjen. 
fort,  e§  ift  etn  grower  jammer  ! 
foHt  in  eure§  2ie6d)en§  hammer, 
ettwa  in  ben 


gauft. 

2Ba§  ift  bic  ^immelgfreub'  in  ifyrcn  Strmen  ?  3345 

2a^  micfy  an  iijrer  Svuft  eriwarmen  ! 
^ttfyr  id^  nic^t  immer  ifyre  ytofy  ? 
33in  ic^>  ber  ^liidjtling  nid^t?  ber  Unbel^aufte? 
2)er  Unmenjd^  ofjne  3^e<f  unb  3Utfy, 
2)er  h)ie  etn  SBafferfturj  toon  $el3  gu  ^elfen  braufte,       3350 
SBegierig  h)iit^enb  nad^  bem  2lbgrunb  511? 
Unb  feitiuart?  fie,  mit  ItnbItC9  bum^fen  ©innen, 
^m  £wttcfyen  auf  bem  fletnen  Sll^enfelb, 
Unb  aft  ifyr  I»au§Itc^e§  SBeginnen 

Umfangen  in  ber  Ileinen  SSelt.  3355 

Unb  idE),  ber  ©otttoeri)a^te, 
£atte  nid§t  genug, 
2)a^  idp  bie  ^elfen  fafete 
Unb  fie  ju  3:riimmern  fd^Iug  ! 
©ie,  ifyren  grieben  mu^t'  idp  untergraben  !  3360 


SGBalb  unb  £bf)te.  163 

e7  mujjteft  biefeS  Dpfer  tyaben  ! 
£ilf,  Steufel,  mir  bie  £t\t  ber  2lngft  berfurjen  ! 
2Sa§  mu|  gefd^efjn,  mag'§  gleid^i  gefcfyefyn  ! 
SJlag  i^r  ©efd^td  auf  mid^  jufammenfturjen 
3365         Unb  fte  mit  mir  511  ©runbe  gefyn. 


toieber  ftebet,  toteber  glii^t  ! 
©e^>  ein  unb  trofte  fte,  bu  2^bor  ! 
2Bo  fo  ein  ^opfd^en  feinen  2lu§gang  fte^t, 
©teUt  er  ftdj  gleid^  ba§  @nbe  bor. 
3370         6§  lebe  irer  ftd^  tafcfer  ^dlt  ! 

©u  bift  bocfy  fonft  fo  jiemlid^  eingeteufelt, 

2lbgef^mac!terg  finb'  ic^  auf  ber  2BeIt, 
einen  2;eufel  ber  berjtoeifelt. 


©ret(^ett§  ©tufie. 

©  r  e  t  cf)  e  n  am  ©pinnrabe  aKctiu 

©r  etcfy  en. 
3Reine  9tufy  ift  fn'n, 

9ftein  £erj  ift  f$n>er  ;  3375 

£5$  finbe  fie  trimmer 
Unb  nimmerme^r. 


9Bo  id)  ifyn  nid 

3ft  mir  ba§  ©rab, 

2)ie  ganje  SBelt  3380 

3ft  mir  bergattt. 


SJieitt  armer 

3ft  mir  berriirft, 

2Rein  armer  ©inn 

3ft  mir  jerftudt.  3385 


«Dieine  9lu^  ift  tyin, 
SKein  §erj  ift  fd^toer  ; 
3$  finbe  fie  nimmer 
Unb  nimmermefyr. 


m  nur  frfjau'  id^>  3390 

3um  genfter  fyinauS, 

(164) 


OretdjenS  ©tube.  165 


ifym  nur  gel)'  i 
bem 


(Sein  fyofyer  ©ang, 
3395  <&etn'  eble  ©eftatt, 


(Seiner  Slugen  ©eioalt, 
Unb  fetner  9tebe 


3400  <Setn  £>anbebrucf, 

Unb  ad^  fein 


ift  ^in, 
ift  fd?h)er 
^d^  finbe  fie  nimmer 
3405  Unb  nimmermefyr. 

SJlein  Sufen  brangt 
<3ic|  nacf)  ii>m  ^in. 
2ld>  burft'  id?  faffen 
Unb 


3410  Unb  liiffen  it>n 

(So  toie  id?  tuoEt', 
Sin  feinen  liiffen 
JBerge^en  fottt'  ! 


SftartljettS  ©artett. 

aWargorete.    gaufl 

Margaret  e. 
SSerfyrtcfy  mir,  £einridj  ! 

2-aufi. 

2Ba§  icfy  lann  ! 

Margaret  e. 

9hm  fag',  toie  fyaft  bu'§  mtt  ber  Religion?  3415 

3)u  bift  ein  ^erjltd^  guter  TOann, 
Slffetn  id^  glaub',  bu  i>alt'ft  nicfyt  mel  babon. 

g  a  u  ft. 

Sa^  ba«,  metn  ^inb  !    3)u  fiifylft  id^  bin  bir  gut  ; 
giir  tneine  Steben  Ite^'  id)  Seib  unb  33Iut, 
SBtH  niemanb  fein  ©efii^I  unb  feine  $trcfye  rauben.      3420 

Margaret  e. 
ift  nidfjt  rec|t,  man  mu^  bran  glauben  ! 

^auft. 


•Ulargaret  e. 

2lc|  !  toenn  idj  eth)a§  auf  bid^  fonnte  ! 
el>rft  aud^  nid^t  bte  ^eil'gen  ©acramente. 

(166) 


3Jtortl)en«  ©arten.  167 

• 

$auft. 
%$  efyre  fte. 

•Etargarete. 
3)ocfy  ofyne  SBerlangen. 

3425      3ur  SJicffe,  jur  Seicfyte  bift  bu  lange  nic^t  gegangen. 
©Iaubftbuan@ott? 

Sauft. 

3Jlein  Siebdjen,  ioer  barf  fagen  : 
8$  glaub'  an@ott? 
2Ragft  ^riefter  ober  2Beife  fragen, 
Unb  iF>re  2lnttoort  fd^etnt  nur  (S^ott 
343°      liber  ben  $rager  ju  fein. 

•Dtargarete. 

<So  glaubft  bu  nid^t  ? 


or'  mid^  nid^t,  bu  f^olbe^  Slngeftc^t  ! 
2Ber  barf  ifyn  nennen? 
Unb  toer  befennen  : 
%fy  glaub'  i^n? 
3435      2Ber  em^finben 

Unb  ftd^  untertoinben 

3u  fagen  :  tc^  glaub'  ifyn  nid§t  ? 

S)er  SlUitmfaffer, 


5440      ^a^t  unb  erfyalt  er  nid^t 


•JBdlbt  fic^  ber  §immel  ntd^t  babroben? 
Stegt  bie  @rbe  nic^t  fyterunten  feft? 


168 


Unb  ftcigen  freunblicfy  bltdenb 

©trnge  Sterne  nidfyt  fyercwf  ?  3445 

©cfyau'  \<fy  nicfyt  2lug'  in  2luge  bit, 

Unb  brangt  nidjt  aHe§ 

Sftacfy  £>aupt  unb  §erjen  bir, 

Unb  toebt  in  etoigem  ©efyetmntfj 

Unfidgtbar  fid^tbar  neben  bit  ?  345° 

©rfiitt'  babon  bein  §erj,  fo  gro^  e§  ift, 

Unb  toenn  bit  gang  in  bem  ©efiifyle  felig  bift, 

§  bann  toie  bu  toittft, 

©Kief!  §erj!  Siebe!  ©ott! 
£5$  ^)abe  leinen  Seamen  3455 

2)afiir  !  ©cffi^I  tft 
3tame  tft  ©d^att  unb 
Umnebelnb 


9Jiargarete. 

ift  atte§  red§t  fd^on  unb  gut  ; 
Ungefafyr  fagt  ba§  ber  ipfarrer  auc^i,  3460 

mit  ein  bi^en  anbern  SBorten. 


@§  fagen'§  atter  Drten 

Sttte  §erjen  unter  bem  f>immlifrf;en 

^$ebe§  in  feiner  ©^rad^e  ; 

2Barum  nid§t  ic^  in  ber  tneinen  ?  3465 

9Jiargarete. 

2Benn  man'§  fo  fyort,  mod^t'S  leiblicf)  fd^einen, 
©te^t  aber  bod^  immer  fcfyief  barum  ; 
2)enn  bu  fyaft  fetn  6I;riftent^um. 


9KortIjen«  ©orten.  169 

gfauft. 
2ieb§  8mb  ! 

2Jlargarete. 
@§  tfyut  mir  lang  fd?on  toefy, 
3470      Safj  id?  bid?  in  ber  ©efettfcfyaft  felj'. 

$auft. 
2Bie  fo? 

3Jtargarete. 

35  er  9ftenfd?,  ben  bu  ba  bei  bir  ^aft, 
Sft  mir  in  tiefer  innrer  €>eele  berfyajjt  ; 
@§  §at  mir  in  meinem  Seben 
@o  nic^t§  einen  <5ticfy  in'§  ^erj  gegeben, 
3475      2U§  be§  3Jlenfd?en  toibrig  ©efid^t. 


Siebe  ^u^e,  fiird^t'  ifyn 


3Jiargarete. 

©eine  ©egentoart  beiwegt  mir  bag  33Iut. 
%d)  bin  fonft  atten  3Kenfd^en  gut  ; 
3lber,  toie  id?  mid?  fefyne  bid?  ju  fd?auen, 
3480      £a&'  id?  bor  bem  2ftenfd?en  ein  ^eimlid?  ©rauen, 
Unb  fyalt'  i^n  fiir  einen  <Sd?eIm  baju  ! 
©ott  berjei^>  mir'§,  toenn  id?  i^m  Unredjt  t^u'  I 

ftauft. 
©g  mu^  aud)  fold?e  ^duje  geben. 

Margaret  e. 

2Bottte  nid?t  mit  @eine§gleid)en  leben  ! 
3485      $ommt  er  einmal  jur  £fyiir  ^erein, 
er  immer  fo  tyottifd?  bretn, 


170  8"  "ft- 


Unb  fyalb  ergrimmt  ; 

3ftan  fte^t,  bafe  er  an  nicfyts  feinen  Slntfyeil  nimmt  ; 

@§  ftefyt  ifym  an  ber  ©tint'  gefcfyrieben, 

3)afj  er  nicfyt  mag  eine  ©eele  lieben.  3490 

2Rtr  h)irb'§  fo  mofyl  in  beinem  Slrm, 

<So  fret,  fo  ^tngegeben  tuarm, 

Unb  feine  ©egentoart  fd^nitrt  mtr  bag  ^nnre  ju. 


bu! 
3Jiargarete. 

iibermannt  micfy  fo  fe^r,  3495 

r  too  er  nur  mag  ju  un§  treten, 
2Rein'  id^  fogar,  tcfy  liebte  bid^)  nid^t  me^r. 
2lud)  loenn  er  ba  ift,  lonnt'  id^  nimmer  beten, 
Unb  ba§  fri^t  mir  in'§  §erj  fytnein  ; 
IJiir,  ^einrid),  mu^  e§  auc^)  fo  fein.  3590 

gauft. 
2)u  ^aft  nun  bte  Slnti^at^ie  ! 

Margaret  e. 
^d^  mu^  nun  fort. 

Sauft. 

3ld§  fann  icfy  nie 

(Sin  ©tiinbd^en  ruf>ig  bir  am  SBufen  ^icingen, 
Unb  SBruft  an  33ruft  unb  ©eel'  in  ©eele  brdngen? 

SRargarete. 

2ldf>  h)enn  \fy  nur  atleine  fd^Iief!  3505 

%<f)  lie^'  bir  gern  fyeut  9iad^)t  ben  9tiegel  offen  ; 


2Rartf)en«  ©arten.  171 

tnetne  Gutter  fd&Iaft  nicbj  tief  : 
Unb  toiirben  fair  Don  ibr  betroffen, 
%<fy  toar'  gleid^  auf  ber  ©teHe  tobt  ! 

ftauft. 
3510      2>u  ©ngel,  ba§  ^at  feme  Wotf). 

§ier  tft  ein  $Iaf$$en  !    ®rei  3:roj)fen  nur 

^n  i^ren  2^ran!  um^iitten 

3Kit  tief  em  ©c^laf  gefattig  bte  g^atur. 

•JlJiarg  arete. 

2Ba§  t^u'  id^  nicfyt  um  betnetiottten  ? 
3515      (g§  totrb  t^r  ^off  entltd^  ntd^t  fc§aben  ! 

£auft. 
2Burb'  idp  fonft,  Ste&cfyen,  btr  e§  ratten? 

2Rargarete. 

<Sefy'  ic^  bid^,  befter  9Jiann,  nur  an, 
2Betf}  ntrf)t  loa§  micfj  nad)  beinem  SBiffen  treibt  ; 
£scf>  F>abe  fcf)on  fo  biel  fitr  bio)  get^an, 
3520      2)af5  mtr  jit  tb,un  faft  nicfytS  mel;r  iibrig  bleibt. 


tritt  auf. 

2Ke^^ifto^b, 
©ra^aff'  !  iji  er  toeg  ? 


§aft  toieber  f^ionirt? 
3JI  e  p  b,  i  ft  o  p  ^)  e  I  e  §. 
^d)  ^ab'§  auSfii^rlid)  mob,  I  bernommen, 
§err  doctor  h)iirben  ba  !ated;ifirt  ; 


172 


£off'  e§  foil  ^s^nen  toobl  befommen. 

SDie  labels  finb  bocfy  fefyr  intereffirt,  3525 

£)b  einer  fromm  unb  fd^Itc^t  nacfy  altem  33raucfy. 

<Sie  ben!en,  bucft  er  ba,  folgt  er  un§  eben  aud^. 

8?«ufb 

S)u  Unge^euer  fte^ft  nid^t  ein, 

2Bie  biefe  treue  liebe  (Seele 

SSon  i^rem  ©lauben  boU,  3530 

SDer  ganj  aUein 

felig  tnadjenb  ift,  fid^  ^eilig  quale, 
fte  ben  liebften  SRann  berloren  fatten  foff. 


3K  e  p  ^>  i  ft  o  )>  ^>  e  I  e  8. 
2)u  iiberfinnltc^er  finnlid^er  ^eier, 
©in  2JiagbeIein  nasfii^ret  bic^.  3535 


2)u  ©^ottgeburt  bon  2)recl  unb 

3JJ  e  p  ^>  i  ft  o  p  ^  c  I  e  «. 

Unb  bie  $^^°9nom^e  berftei>t  fie  meifterlid^. 

^n  meiner  ©egentoart  totrb'g  tf>r  fie  twei^  nicfyt  n>te, 

2Retn  3Kdl!d)en  ba  toeisfagt  berborgnen  ©inn  ; 

@ie  fitfytt,  ba^  id^  ganj  fic^er  ein  ©enie,  3540 

SSietteid^t  \vofyl  gar  ber  £eufel  bin. 


ge^t  bid?'§  an? 
e  to  ^  i  ft  o  to  ^  e  I  e  3. 
'  id?  bod^  meine  $reube  bran  !  ' 


21  m  SBrunnett 

©  r  e  t  d)  t  n  unb  ?  i  e  8  dj  e  n  mit  $riigen. 

£  i  e  3  $  e  n. 
§aft  ntcfjts  toon  Sarbeld^en  gefyort? 

©r  et  d^  en. 
3545      ^etn  2Bort.    %$  lomm'  gar  toenig  unter  Scnte. 

SieSd^  en. 

©etoife,  Oi^He  fagt'  mir'S  ^eute ! 
3)ie  f>at  ft$  enblid^  auc^  betljort. 
2)a§  ift  ba§  SSome^mt^un  ! 

©r  etcfy  en. 

2Biefo? 
2  i  e  3  rf)  e  n. 

@§  fttnft ! 
@ie  fiittert  jtoet,  h)enn  fte  nun  i^t  unb  trinft. 

©  r  e  1 3)  e  n. 
3550      21$ ! 

SieSdjen. 

@o  tft'3  tfyr  enbltd^  red^t  ergangen. 
2Bie  lange  F>at  fie  an  bem  $erl  ge^angen ! 
tear  etn  ©pajieren, 


(173) 


174 


2Iuf  ®orf  unb 

•JRufjt'  ii&eratt  bie  ©rfte  fein,  3555 

Gurtefirf  ifyr  immer  mit  ^aftetdfyen  unb  SQBein  ; 

SBilb't'  ficfy  toa§  auf  ifyre  ©cfyonfyeit  ein, 

SBar  bo(f)  fo  e^rlo§  ftc^)  nicfyt  ju  fd^awen 

©efd^enfe  bon  ifym  an^une^men. 

2Bar  ein  ©e!of  unb  ein  ©ef$Ie<f  ;  3560 

2)  a  ift  benn  aud^  ba§  SMiimcfyen  tceg  ! 

©  r  e  t  dj>  e  n. 
£>a§  arme  ®ing  ! 

2t  e§  d^  en. 
Sebaucrft  [te  nocfy  gar  ! 
2Benn  unfer  ein§  am  ©pinnen  tear, 
Un§  -ftacfytS  bte  SRutter  mc§t  ^inunterlie^, 
(Stanb  fie  bei  i^rem  Sullen  fitfj,  3565 

2luf  ber  ^^iirbanf  unb  tm  bunleln  ©ang 
SOSarb  ifynen  feme  ©tunbe  ju  lang. 
®a  mag  fie  benn  ficfe  bucfcn  nun, 
^m  ©iinberbembd^en  ^trd^bu^'  tfyun  ! 

©  r  e  t  $  e  n. 
@r  nimmt  fie  getot^  ju  feiner  $raii.  3570 

S  i  e  §  $  e  n. 

6r  tear'  ein  9farr  !     Sin  flinf  er  3un9' 
§at  anberh)art§  nod;  Suft  genung. 
@r  ift  aud^  fort. 

©  r  e  t  cfyen. 
£)a§  ift  nicf)t  fc^on  ! 

Si  e  ad)  en. 
^riegt  fie  i^>n,  foU'§  iijr  iibel  ge^n. 


2tm  Srumten.  175 


3575      25ag  ^ranjel  reifjen  bie  SBuben  ifyr, 
Unb  £>arferling  ftreuen  toir  bor  bie 


©  r  e  t  d;  e  n  nad)  §aiife  ge^enb. 
SSte  lonnt'  id)  fonft  fo  tapfer  fd;ma^Ien, 
SBenn  t^at  ein  arme§  SJJagblein  fefylen! 
SSie  fonnt'  id;  iiber  anbrer  <2iinben 

3580     5Rid;t  SBorte  g'nug  ber  3un9e  finben  ! 

2Bie  fd;ten  mir'§  fd^tDarj,  unb  fdjtoarjt'S  nod;  gar, 
3Jiir'§  immer  bod;  nid;t  fd;toar3  g'nug  h)ar, 
Unb  fegnet'  mid;  unb  t^at  fo  groft, 
Unb  bin  nun  felbft  ber  Siinbe  blofe  ! 

3585      25od;  —  aHe§  h)a§  baju  mid;  trieb, 
©ott  !  tear  fo  gut  !  ad;  toar  fo  lieb  ! 


3  to  t  n  g  e  r. 

3n  bet  2RcmerIjof)te  etn  2(nbacf)t8!6ilb  ber  Mater  dolorosa,  23hnnenfriige 
batoor.    ©retdjen  fledtt  frifd)e  33Iutnen  in  bie  $riige. 

©retcfyen. 


2)u 

2)ein  2lntli|  gnabig  metner 


©djtoert  im  ^erjen,  3590 

9Jiit  taufenb  ©cfymerjen 
S3Iidft  auf  ju  betneS 


3um  5Bater  Blufjt  bit, 

Unb  ©eufjer  f^idft  bu 

^inauf  um  fein'  unb  beine  Woty.  3595 

SSer  fii^Iet, 


2)er  ©d^merj  mir  im  ©efcein? 
2Ba§  mein  arme§  §erj  ^ter  banget, 

§  jittert,  h>a§  berlanget,  3600 

nitr  bu,  nur  bu  attein  ! 


c    mmer 
2Ste  toe^,  tote  toe^,  lote 

(•76) 


3»inger.  177 


SBirb  mir  im  33itf  en 
3605  3$  Bin  ac§  faum  atfeine, 

!gd)  toein',  icfy  toein',  i$  toeine, 
jerbrtd^t  in  mir. 


!iDic  ©c^erben  bor  meinem  $enfter 
Set^aut'  td^  mit  3:^»ranen,  aclj  ! 
3610  21I§  id^  am  friiljen  9J?orgen 

25ir  biefe  SBIumen  brad^. 

©c^ien  ^ett  in  meine  hammer 
35ie  ©onnc  frii^  fyerauf, 
<Sa^  \<fy  in  aHem  jammer 
3615  ^n  meinem  Sett  fcfjon  auf. 

§ilf  !  rette  mid)  Don  ©cijmacfj  unb 
2ld§  neige, 


Sein  Slntli^  gnabig  metner 


©trafce  bor  ©retdjenS  SCI?  it  re. 

SB  a  Ten  tin  @olbat,  ©vetdjenS  SBrttber. 

33  a  I  e  n  1 1  n. 

SBenn  id;  fo  fafe  bei  etnem  ©elag,  3620 

9Bo  manner  fid?  beriifymen  mag, 
Unb  bie  ©efetten  mir  ben  %\oi 
35er  SRagblein  laut  gepriefen  bor, 
SJtit  tooflem  ©Ia§  ba§  Sob  berfd;iDemmt, 
2)en  ©ttenbogen  aufgeftemmt  3625 

©a|  id)  in  meiner  fid;ern  3fiu^, 
§ort'  aU  bem  ©d^toabroniren  ju, 
Unb  ftreid;e  lad^elnb  nteinen  33art, 
llnb  frtegc  ba§  botte  ©Ia§  jur  §anb 
Unb  fage :  atte§  nad;  f etner  Slrt !  3630 

3(ber  ift  ©ine  im  ganjen  2anb, 
2)ie  meiner  trauten  ©retel  gleid;t, 
2)ie  meiner  ©d;n)efter  ba§  SSaffer  reid^t? 
2:ob !  Stop !  £Iing !  ^lang !  ba§  ging  ^erum ; 
2)ie  einen  fd;rieen :  er  fyat  Sled^t,  3635 

<Sie  ift  bie  $ier  jjom  ganjen  ©efd;Ied;t ! 
2)a  fa^en  atte  bie  Sober  ftumm. 
Unb  nun !  —  um  'g  §aar  fid;  au^uraufen 
Unb  an  ben  SBanben  fyinauf  ju  laufen !  — 
9Jiit  (Stid;elreben,  ^aferiimbfen  3640 

@oH  jeber  @d;urfe  mid;  befd;imbfen ! 

(178) 


Stedjt.  179 


©oH  tote  cm  bofer  ©djulbner  fttjen, 
SBei  jebem  3ufatt§toortd)en  f<f>hn£en  ! 
Unb  mod?t'  id)  fie  juf  ammenf  djmeifjen  ; 
3645      $6nnt'  id)  fie  bod)  nid;t  Stigner  fyetfjen. 

2Ba§  fommt  fyeran  !    2Ba§  fd)Ieid)t  fyerbei? 
^rr'  id)  md;t,  e§  finb  ifyrer  jtoei. 
3fk  er'§,  gleirf;  |>adP  id)  i^n  bei'm 
©ott  nid)t  lebenbig  bon  ber  ©teUe  ! 


3650      9Bie  toon  bem  genfter  bort  ber  ©acriftet 

2luftoart§  ber  <Sd)ein  be§  eto'gen  2ampd)en§  jTdmmert 
Unb  fd)ioad)  unb  fd)toad)er  feittoartS  bammert, 
Unb  ^infterni§  brangt  ring§iim  bei  ! 
@o  fleet's  in  meinem  SBufen  ndd^tig. 

2ft  e  p  ^  i  ft  o  ^  ^  e  I  e  3. 
3655      Unb  mir  ift'S  toie  bem  ^d^Iein  f^macfytig, 

2)a§  an  ben  ^euerleitern  fd)Ieid)t, 

©id)  leif  '  bann  um  bie  9Jiauern  ftreid)t  ; 

2Rir  ift'S  gang  tugenblid)  babei, 

@in  bifjd)en  SiebSgeliift,  ein  bi^d)en  9tammelei. 
3660     ©o  fpuft  ntir  fd)on  burd)  atte  ©lieber 


fommt  un§  iibermorgen  toieber, 
man  bod;  toarum  man  n>ad)t. 


g  a  u  ft. 

tool)l  ber  ©d)a^  inbeffen  in  bie  §61)', 
3665      2)en  id)  bortfyinten  flimmern  fe^'  ? 


180 


3ft  e  p  fy  i  ft  o  p  fy  e  I  e  3. 
fannft  bie  $reube  balb  erleben, 

efjielcfyen  fyerau^ufyeben. 
%<$  fcfyielte  neulid^  fo  ^tnein, 
©inb  I>errlt^e  Sotoent^aler  bretn. 


em  ©efd^metbe,  nid^t  em  Sting,  3670 

2Jteine  Uebe  SBufyle  bamtt  ju  jieren  ? 

2ft  e  p  ^  t  ft  o  jj  ^  e  I  e  8. 
$$  fa^  babei  too^I  fo  ein  2)mg 
2U§  tote  eine  2lrt  toon  ^Berlenfdjniiren. 


(So  ift  e§  re$t  !    9Ktr  t^'ut  e§  toefy, 

SSenn  td^  o^ne  ©efd^enle  ju  i^r  ge^'.  3675 

3JZ  e  $  §  i  ft  o  p  ^  e  I  e  §. 
6§  fottt'  eud?  eben  nidjt  berbrie^en 
Umfonft  aud^  ettoaS  511  genie^en. 
^e^t  ba  ber  §tmmel  boffer  ©teme  glii^t, 
@oHt  i^r  ein  toa^reS  ^unftftucf  fyoren  : 
^d?  fing'  i^r  ein  moralifd}  Sieb,  3680 

Urn  fte  getoijfer  ju  bet^oren. 

@ingt  gur  Sitter. 
SBa§  ma6§ft  bu  mir 
SSor  £iebc^en§  2:^iir, 
d^en,  fyter 

^em2;age§bli(fe?  3685 

,  lafe  e§  fein  ! 
lafet  bt<$  ein 


181 


ein, 

nicfyt  juriitfe. 


3690  -ftefymt  eudji  in  2ld;t  ! 

Sft  e§  bollbrad&t, 
S)ann  gute  -ftacfyt 
£$r  armen,  armen  linger  ! 
§abt  t^r  eu<^  Iteb, 

3695  £fyut  leinem  3)ieb 


tnit  bem  Sting  am  finger. 

23  a  I  e  n  t  i  n  tritt  Dor. 

SSen  lodfft  bu  tyier?  bei'm  element  ! 
SSermalebeiter  Sfattenftinger  ! 
3700      3um  ^eufel  erft  bag  ^nftrument  ! 

3um  £eufel  ^tnterbrein  ben  ©anger  ! 

2ft  e  p  ^>  i  ft  o  $  1)  e  I  e  3. 
SDie  Sitter  ift  entjtoet  !  an  ber  ift  ni$t§  ju 

S3  a  I  e  n  t  i  n. 
fott  e§  an  ein  <3$abelfpalten  ! 


£err  jDoctor  nid^t 
3705      §art  an  mi$  an,  toic  id^  euc§  fiifyre. 
§erau§  mit  eurem 
•iftur  jugefto^en  ! 

S3  a  I  e  n  t  i  n. 
^arire  ben  ! 


182 


SSarum  bennntcfyt? 

33  a  I  en  tin. 
2ludEj  ben  ! 


©etoife  ! 

33  a  I  en  tin. 

3$  glaub',  ber  Seufel  ftc§t  ! 
2Ba§  ift  benn  ba§?    ©cfyon  tpirb  bie  §anb  mir  lafym.  3710 

ju  gaujl. 


Valentin  fattt. 
D 


ift  ber  2ummel 
aber  fort  !    2Bir  miiffen  gleid^  berf^ioinben  : 

2)enn  fd^on  entfte^t  ein  morberlicfy  ©efc^rei. 

3^  toei^  mid^  trefflidj  mtt  ber  ^olicei, 

mit  bent  Slutbann  fd^Ied^t  mtc§  abjuftnben.          3715 


3)iart^e  amgenfier. 
§erau§  I    §erau§  ! 

©retd^en  am  genfter. 
§erbei  ein  Sid^t  ! 

3Ji  a  r  t  f)  e  nrie  oben. 
2Ran  fd^ilt  unb  rauft,  man  fc^reit  unb  fidjt. 

58  oil. 
2)a  Itegt  f  $on  einer  tobt  ! 


183 


2R  a  r  t  fy  e  IjerauStretenb. 
£>ie  SRorber  finb  fie  benn  entflo^n  ? 

©  r  e  t  $  e  n  Ijeraitstretenb. 
3720      2Ber  Uegt  In'er  ? 

Sol!. 

2)einer  Gutter  6ofyn. 

©r  etcf)  en. 
2lIImadjttger !  toelcfye  5Rot^ ! 

23  a  I  en  tin. 

3$  fterbe  !  ba§  ift  balb  gefagt 

Unb  balber  nod^  get^an. 

2Ba§  fte^t  ifyr  SBeiber,  ^eult  unb  !Iagt? 
3725      $ommt  f>er  unb  i>ort  micfy  an ! 

2lUe  treten  urn  i^n. 

SJiein  ©retcf)en  fie^> !  bu  6ift  nod^>  jung, 

33ift  gar  nod^  nic^t  gefc^eibt  genung, 

•Kacfyft  beine  ©ad^en  fd^led^t. 

Jgd)  fag'  bir'S  im  3Sertrauen  nur : 
3730     2)u  btft  bocl)  nun  einmal  eine  §ur' ; 

(So  fei'§  aud^  eben  recfyt. 

©ret  3)  en. 

3Jiein  Sruber !    ©ott !    2Bag  foil  mir  ba§  ? 
SSalentin. 

Sajj  unfern  §err  ©ott  au§  bem  <5pafc. 
®efc^el)n  ift  leiber  nun  gefcfyefyn, 
3735      ^n^  to™  eg  9e^n  ^ann'  f°  toirb'g  gefyn. 
2)u  fingft  mit  @inem  fyetmlicfy  an, 


184  Sfcwfl.    erf*cr 


SBalb  fommen  ifyrer  mefyre  bran, 
Unb  toenn  btdfy  erft  ein  ®u$enb  fyat, 
(So  fyat  bicfy  audl)  bie  ganje  ©tabt. 

SOBenn  erft  bie  ©dfyanbe  toirb  geboren,  3740 

2Birb  fte  ^etmltd^  gur  SBelt  gebradjt, 

Unb  man  gie^t  ben  ©deleter  ber  Wafyt 

%fr  uber  £opf  unb  D^ren  ; 

^$a,  man  mod)te  fie  gern  ermorben. 

2Bacfy'ft  fie  aber  unb  mad§t  ftcfy  gro§,  3745 

2)ann  ge^>t  fie  aurf)  bei  2^age  blo^, 

Unb  ift  bodj  nid^t  f^oner  getoorben. 

^e  ^a^Ii^er  toirb  t^r  ©eftd^t, 

^e  me^r  fud^t  fie  be§  Staged 


eF>'  toafyrfyaftig  fd^on  bie  3eit,  3750 

aHe  brabe  S3urger§Ieut', 
2Bie  toon  einer  angeftetften  Seid^en, 
SSon  bir,  bu  SJie^e  !  feitab  toeicfyen. 
Sir  fott  ba§  §erj  im  Seib  berjagen, 
2Benn  fie  bir  in  bie  2lugen  fe^n  !  3755 

©ottft  feine  golbne  $ette  me^r  tragen  ! 
^n  ber  $ircfye  nic^t  me^r  am  2Utar  fte^n  ! 
^n  einem  fcfjonen  ©^i^enlragen 
S)id^  nic^t  bei'm  Sanje  luo^Ibe^agen  ! 
^n  eine  finftre  ^ammeredfen  3760 

Unter  Settler  unb  ®riitofcel  bid^  berftecfen, 
Unb  toenn  bir  benn  auc^  ©ott  berjeifyt, 
2luf  @rben  fein  bermalebeit  ! 

Dttartfye. 

Sefe^It  eure  ©eele  ©ott  511  ©naben  ! 
SSottt  ifyr  noc^  ^aftrung  auf  eud^)  laben?  3765 


185 


SB  a  I  e  n  t  i  n. 

$5nnt'  i<$  bit  nut  an  ben  biirren  2ei&, 
$u  fdjanbltd}  lupplerifc§e§  2Betb ! 
35a  fyofft'  id^  atter  meiner  ©iinben 
SSergebung  reid^e  !Ka§  ju  finbcn. 

©r  et  d^en. 
3770     3Kein  Sruber !    SEeld^e  §otten^ein ! 

SB  a  I  en  tin. 

%<fy  fage,  lafe  bte  Sfyranen  fein ! 
®a  bu  bt$  f^rad^ft  ber  @^re  Io§, 
©abft  mir  ben  fdE>toerften 
3$  gefye  burd^  ben 

3775      3"  ©ott  ein  al§  ©olbat  unb  brab. 

©tirbt. 


SDotn. 

21  m  t,   D  r  g  e  I  unb  ©  e  f  a  n  g. 
©  r  e  t  (f)  e  it  unter  Dielcm  SSolfe.    33  o  f  e  r  ©  e  i  ft  f)inter  ©retdjen. 

S3  5  f  e  r  ©  e  t  ft. 
2Bie  anber§,  ©retd^en,  tear  bir'§, 
Sllg  bu  noc^)  bott  Unfc^ulb 
§ier  gum  2lltar  trat'ft, 
2lu§  bem  bergrtffnen  33iid^eld^en 
©ebete  lattteft,  3780 


©ott  tm 
©retd^en  ! 


n  beinem  ^erjen  3785 


Set'ft  bu  fur  beiner  Gutter  ©eele,  btc 

SDitrdji  bid^)  gur  langen,  langen  $etn  ^i 

Sluf  beiner  ©cfytoeUe  tocffen  Slut? 

—  Unb  unter  beinem  §erjen  3790 

Sflegt  fid§'3  nid^t  qutUenb  fd^on, 

Unb  cingftet  bid^i  unb  fic^ 

©egeniuart? 


187 
©  r  e  t  dj  e  n. 


3795  SBar'  id)  ber  ©ebanten  Io§, 

3)ie  mir  fyeruber  unb  I)iniiber  gefyen 
SBiber  mid?  ! 

6^  or. 

Dies  irae,  dies  ilia 
Solvet  saeclum  in  favilla. 
Drgdton. 

S  5  f  e  r  ©  e  t  ft. 

•<8oo  ©rttnm  fa^t  bid)  ! 

2)ie  ^Sof  aune  tont  ! 
S)ie  ©raber  beben  ! 
Unb  bein 


3805 

SBieber  aufgefd^affen, 
S3ebt  auf  ! 

©r  etdj  en, 

2Btir'  id)  fyier  toeg  ! 
IDiir  ift  al§  ob  bie  Drgel  mir 
3810  3)en  Stt^em 

©efang  mein 
^tn  Slicfftcn  Idrte. 

<S  I)  or. 

Judex  ergo  cum  sedebit, 
Quidquid  latet  adparebit, 
3815  Nil  inultum  remanebit. 


188 


©  r  e  t  rf>  e  n. 
ltr  hrirb  fo  eng  ! 
SDie  3Jtauern-^feiIer 
Sefangen  mid)  ! 
©etoolbe 

id^  !  —  2uft  !  3820 

33  o  f  c  r  ©  e  i  ft. 

SSerbirg  bid^  !     @iinb'  unb  @d;anbe 
SBIeibt  nid^t  berborgen. 
Suft? 
bir  ! 


Quid  sum  miser  tune  dicturus?  3825 

Quern  patronum  rogaturus? 
Cum  vix  Justus  sit  securus. 

SB  o  f  e  r  ©  e  i  ft. 
$fyr  3lntlt^  tuenben 
SSerllcirte  i>on  bir  ab. 

3)te  ^anbe  bir  ju  reic^en,  383o 

ben  9teinen. 


Quid  sum  miser  tune  dicturus  ? 

©  ret  d^  en. 

6uer 
@ie  faUt  in 


irg.     ©egenb  bon  ©cfyierle  unb   ©lenb. 


3835  SBerlangft  bu  nicfy  t  na$  einem  33efenftiele  ? 
$d?  toiinfcfyte  tntr  ben  atterberbften  SBocf. 
2luf  biefem  SBeg  finb  h)tr  no^  toeit  bom 

gauft. 

@o  lang  id^  mic^  nod^)  frifd^  auf  metnen  33etnen  fit^Ie, 

©eniigt  mir  biefer  ^notenftodf  . 
3840  2Ba§  gift's  ba^  man  ben  3Seg  berfurjt  !  — 

^m  2ab^rint{)  ber  Staler  ^injufc^Ieic^en, 

2)ann  biefen  $elfen  ju  erfteigen, 

SSon  bem  ber  Duett  ficfy  etoig  fbrubelnb  fturjt, 

35a§  ift  bie  2uft,  bie  folcb,  e  ^Sfabe  murjt  ! 
3845  $>er  ^rii^Iing  toebt  fc^on  in  ben  33ir!en 

Unb  felbft  bie  gicfyte  fu^It  ib,n  fd?on  ; 

©ottt'  er  nid;t  aud9  auf  unfre  ©lieber  toirlen? 


id^  fbiire  nidE>t&  babon  ! 
3Jlir  ift  e§  tointerlia^  tm  Seibe  ; 


190  ftauft.    Srfter  Sfjeit. 

$$  toiinfcfyte  ©dfmee  unb  $roft  auf  meiner  Salrn.        385° 

2Bie  traurig  fteigt  bie  unbottfommne  ©d>eibe 

SDeS  rotfyen  9J?onb§  mit  footer  ©lutl)  fyeran, 

Unb  leucfytet  fcfylecfyt,  baft  man  bet  jebem  ©cfyritte, 

33or  einen  SBaum,  Dor  einen  ^elfen  rennt  ! 

drlaub'  ba^  tc^  em  ^rrltc^t  bitte  !  3855 

SDort  fe^'  id)  ein§,  ba§  eben  luftig  brennt. 

£e  ba  !  mein  greunb  !  ®arf  icf>  bid^  ju  un§  fobern  ? 

28a§  iDtttft  bu  fo  t>ergeben§  lobern  ? 

©ei  boc^  fo  gut  unb  leiicfyf  un§  ba  fytnauf  ! 

Srrlid9t. 

3lu§  ©fyrfurcfyt,  f>off'  id^,  foH  e§  mir  gelingen,  3860 

9Jietn  leic^teg  Matured  §u  jluingen  ; 
§i<%ac!  gef)t  getoo^nlic^  unfer  Sauf. 


@i  !  @i  !     @r  benft'g  ben  SJlenfcfyen  nac^jua^men. 

©ef)'  @r  nur  g'rab',  in'§  Steufel^  9^amen  ! 

©onft  blaf  td^  ^j^m  ©em  glacfer^Seben  au§.  3865 


^3)  merfe  n)of>I,  ii>r  fetb  ber  £>err  bom 

Unb  nritf  mid)  gern  nac^  eud)  bequemen. 

2lttein  beben!t  !  ber  S3erg  ift  fjeute  jaubertott, 

Unb  Icenn  ein  ^rrlid;t  euc^  bie  2Bege  Jreifen  foil, 

©o  mii^t  tfyr'3  fo  genau  nicf)t  nei?men.  387° 


rrt         m 
^n  bie  Straums  unb  3cwforfyfycire 
©inb  toir,  fd^eint  e§,  eingegangen. 
giifyr'  un^  gut  unb  mad/  bir 


191 


toir  bortodrts  balb  gelangen, 
3875  ^n  ben  toeiten  oben  9tdumen. 

©eb/  bie  Sdutne  fyinter  SBdumen, 
2Bie  fie  fdrmett  boriiber  riicfen, 
Unb  bie  $libtoen,  bie  fid^  biicfen, 
Unb  bie  langen  ^elfennafen, 
3880  2Bie.fie  fcfynarcfyen,  toie  fie  blafen  ! 

3)urcf)  bie  ©teine,  burd^  ben  Siafen 
Silet  33ad^  unb  Sdd^Iein  nieber. 
£or'  id^>  9taufrf)en?  ^or'  icfy  Sieber? 
§01^  id?  i)olbe  SiebeSflage, 
S^S  ©timmen  jener  §immel§tage  ? 

28a§  h)ir  ^offen,  h)a§  toir  lieben  ! 
Unb  ba§  (Srf)o,  toie  bie  <Sage 
2llter  3^te"/    affet  toiber. 


Ub,u  !  ©cfyuljw  !  tbnt  e§  nd^er, 
3890  $auj  unb  ^ibi§  unb  ber  £db,er, 

<Sinb  fte  atte  toacfy  geblieben  ? 

©inb  ba§  Mcfye  burd^'g  ©eftrdud^e? 

Sange  Seine,  birfe  33dudi)e  ! 

Unb  bie  3SurjeIn,  toie  bie  ©d^langen, 
3895  SSinben  fid?  aul  ^ell  unb  ©anbe, 

©tredren  tounberlid^e  SBanbe, 

Un§  ju  f  d^reden,  un§  ju  fangen  ; 

2lu§  belebten  berben  SRafern 

©trecfen  fie  ^Bol^enfafern 
3900  3iad9  bent  -JBanbrer.    Unb  bie  5ERdufe 


192  3aufl-    Srfter  Sfjeil. 


Xaufenbfdrbig,  fcfyaarentoeife, 

SDurcfy  ba§  9Jloo§  unb  bitrcfy  bie  £eibe  1 

Unb  bie  $un!enft>itrmer  fliegen, 

3ftit  gebrdngten  ©d^todrme^ws^^ 

3um  bertoirrenben  ©eleite.  3905 

Slber  fag'  mir  ob  h)tr  ftefyen, 
Dber  ob  U)tr  toeiter  gefyen? 

,  atte§  fd^eint  ju  brefyen, 

unb  Sdume,  bie  ©eficfyter 
Sc^neiben,  unb  bie  irren  Sifter,  391° 

2)ie  ftd^)  me^ren,  bie  ftrf)  bidden. 


^affe  toatfer  meinen 

§ier  ift  fo  ein  SRittelgi^fel, 

2Bo  man  mit  Grftaunen  fiel^t, 

2Bie  im  33erg  ber  2Rammon  glii^t.  3915 

Sauft. 

2Bie  feltfam  glimmert  bttrrf)  bie  ©riinbe 
@in  morgenroti)Ii(^  triiber  (Serein  ! 
Unb  felbft  bi§  in  bie  tiefen  ©c^Iiinbe 
2)e3  2lbgrunb§  toittert  er  ^inein. 
&a  fteigt  ein  35am^f,  bort  giefyen  ©c^tcaben,  3920 

§ier  leud^tet  ©Iittfy  aul  3)unft  unb  ^lor, 
SDann  fd)Ieic^)t  fie  toie  ein  garter  $aben, 
2)ann  brid^t  fie  toie  ein  Dueff  Berber. 
§ier  fcfylingt  fie  eine  ganje  ©trecfe, 
m\t  ^unbert  aibern,  fic^  burc^'g  £fyal,  3925 

Unb  I)ier  in  ber  gebrdngten  @cfe 


SBafyurgiSnadjt.  193 


SSereinjelt  fie  ficfy  auf  einmal. 
2)a  fpriifyen  gunfen  in  ber 
2Bie  ausgeftreuter  golbner  <5anb. 
3930  3)oc&,  fcfyau'  !  in  ifyrer  ganjen  §o^ 
Gntjiinbet  fid?  bie  ^elfenloanb. 


©rleucfytet  nidbt  ju  biefem 
§err  Gammon  ^rdc^tig  ben 
(Sin  ©liicf  bap  bu'§  gefeben  I»aft  ; 
3935      %<fy  tyiire  [c^on  bie  ungeftiimen  ©afte. 

gaujl. 

2Bte  raft  bie  2Sinb§braut  burc^  bie  Suft  ! 
3Rit  toelcfyen  ScBIdgen  trifft  fie  meinen  -ftacfen 


alte 

©onft  ftiirjt  fte  bid^  ^inab  in  biefer  ©cfe,  liinbe  ©ruft. 
394°      gin  gjefcel  berbid^itet  bie  5^acf)t. 

§6re  h)ie'§  burc^  bie  SSalber  fradjt  ! 

3lufgefd^euc^t  fliegen  bie  Gulen. 

§or',  e§  f^Iittern  bie  ©dulen 

6h)ig  griiner  ^Jaldfte. 
3945      ©irren  unb  Sred^en  ber  Slfte  ! 

2)er  (Stamme  mdd^tigeg  2)ro^nen  ! 

2)er  SBurjeln  ^narren  unb  ©dfynen  ! 

^m  fiirc^terlic^  bertoorrenen 

liber  einanber  Irad^en  fie  atte, 
395°      Unb  burrf)  bie  iibertrummerten 

3ifcf)en  unb  ^eulen  bie  Siifte. 


194  gaufl.    Srfier  2f>eil. 

§orft  bu  ©titnmen  in  ber  £6fye  ? 

$n  ber  gerne,  in  ber  ^tafyc  ? 

Ijja,  ben  ganjen  Serg  entlang 

(Stromt  ein  toiitfyenber  $aubergefang  !  3955 

£  e  r.  e  n   im   G  fy  o  r. 
2)ie  £>er.en  ju  bem  Srorfen  jie^n, 
S)ie  ©to^el  ift  gelb,  bie  ©aat  ift  griin. 
5Dort  fammelt  fid^  ber  grojje  §auf, 
^err  Urian  fi^t  oben  auf. 

<So  ge^t  e§  uber  <3tein  unb  (Stodf,  3960 

@3  f—  t  bie  ^eje,  e§  ft—  t  ber  Serf. 

@  t  i  m  m  e. 

®ie  alte  Skufco  fommt  attetn  ; 
©ie  reitet  auf  einem  SRutterfc^toein. 


(So  6^re  benn,  n)em 

grail  Saubo  bor  !  unb  angefii^rt  !  3965 

@in  tiid^tig  ©d^toein  unb  Sautter  brauf, 

S)a  folgt  ber  ganje  §ejenf)auf. 

<S  1  i  m  m  e. 
SBelc^en  SSeg  lommft  bu  tyer? 

©  t  i  m  m  e. 

tiber'n  ^Ifenftein  ! 

®a  gucft'  iep  ber  (Me  tn'8  3^eft  I)inein. 
3)ie  mac9t'  ein  $aar  Slugen  ! 

©  t  i  m  in  e. 

D  fafyre  jur  £offc.  3970 

reit'ft  bu  fo 


195 


<S  t  i  m  m  e. 
fyat  fte  gefdjwnben, 
S)a  ftel)  nur  bie  28unben  ! 

£  e  r.  e  n.     @  fy  o  r. 
2)er  28eg  ift  breit,  ber  2Beg  ift  long, 
3975  2Ba3  ift  ba§  fur  ein  totter  SDrang  ? 

®te  ©abel  fticfyt,  ber  33efen  fra^t, 
3)a§  ^inb  erfttcft,  bie  Gutter  ^Ia|t. 

§ejentneifter.    £albeg  6^> 
2Btr  fc^Ieid^en  Juie  bie  @$necf  im 
S)ie  2Seiber  aUe  ftnb  toorau§. 
3980  SDenn,  geF)t  e§  311  be^  SBofen  §au€, 

2)a§  2Beib  f>at  taufenb  ©c^ritt  boraug. 

2tnbre  ^alfte. 
2Bir  neF)men  ba§  nid^t  fo  genait, 
3JJit  taufenb  ©Britten  mad(>t'§  bie  $rau; 
2)0^,  toie  fte  audj  fid^  eilen  fann, 
3985  -Kit  einem  ©grunge  mad^t'§  ber  3ftann. 

©  t  i  m  m  e  oben. 
^ommt  mit,  fommt  mit,  bom  ^elfenfee  ! 

©  t  i  m  m  e  n  »on  unten. 
SSir  mocfyten  gern  mit  in  bie  §olj. 
2Bir  n)afrf>en  unb  blan!  ftnb  toir  ganj  unb  gar  ; 
Slber  aud;  etoig  unfrud^tbar. 

Seibe  61>ore. 

3990  gg  fa^iioeigt  ber  2Sinb,  e^  flieb^t  ber  ©tern, 

2)er  triibe  2Ronb  berbirgt  fia;  gem. 


196  ftauft.    ©rfter 


^m  ©aufen  fpriifyt  ba<3 
SSiel  taufenb  geuerfunfen 

<S  t  i  tn  tn  e  »on  itntcn. 


<S  t  i  m  m  e   toon  obeti. 
2Bcr  ruft  ba  au§  ber  gelf  enfyalte  ?  3995 

@  t  i  tn  m  e  uttten. 
micf)  mit  !  ^ie^mt  midj  mit  ! 


^5^  fteige  fdjon  brei^unbert  ^a^r, 
Unb  lann  ben  ©tpfel  ntd^t  erreic^en. 
^  toare  gern  bet  3Jietne§gIetc^en. 

SBeibe  Gfyore. 

@§  tragt  ber  Sefen,  tragt  ber  ©torf,  4000 

2)ie  ©abel  trcigt,  e§  tragt  ber  33od; 
28er  ^eute  fid^)  nid;t  ^eBen  lann, 
^ft  eh)ig  ein  berlorner  SJiann. 

^>  a  1  6  §  e  r,  e  iinten. 

$d)  trt^iple  nadE),  fo  lange  3^  '•> 

2Bie  finb  bie  anbern  fd)on  fo  h)eit  !  4005 

%<fy  f>ab'  gu  ^aiife  feine  9tui>, 

Unb  fomme  ^ter  bocfy  ntc^t  baju. 

(5i)or  ber  £>er,en. 

2)te  ©albe  gtbt  ben  £er.en  5Rut^ 

@tn  Sum^en  ift  jum  ©egel  gut, 

©in  gute§  <3rf)iff  ift  jeber  Strog  ;  4010 

2)er  flieget  nie,  ber  fyeut  nid;t  flog. 


2Batpurgi«nadjt  197 


33eib  e  6^6  re. 
llnb  toenn  totr  um  ben  ©ipfel  ^teljm, 
<So  ftretcfyet  an  bem  23oben  fyin, 
Unb  becft  bie  §eibe  toeit  unb  brett 
4015  2Rit  eurem  ©d^toarm  ber 

@ie  laffen  ftd)  nteber. 


brcingt  unb  fto^t,  ba§  ruf  cbt  unb  f  lappert  ! 
jtf  d^t  unb  quirlt,  ba§  jiefyt  unb  plap^ert  ! 
leucfytet,  fpriibt  unb  ftinft  unb  brennt  ! 
(Sin  toabre§  §ejenelement  ! 
4020  -ftitr  feft  an  mir  !  fonft  ftnb  toir  gletcfy  getrennt. 


a  u  f  t  in  ber  gtrne. 


i  ft  o  ^  ^  e  I  e  «. 

2Sa§!  bort  fa^on  ^tngeriffen? 
hjerb'  id^  §au§red?t  braud)en  miiffen. 

!  punier  SSolanb  fommt.    ^S(a^  !  fufeer 
^ier,  doctor,  faf[e  midj  !  unb  nun,  in  @inem 
4025  Sa^  un§  au§  bem  ©ebrdng'  enttoeia^en  ; 
@§  ift  }u  toll,  fogar  fur  5Reineggleicfyen. 

neben  leucfitet  ica§  mtt  ganj  befonbrem  ©d^ein, 
jie^t  mid)  h)a§  nac^  jenen  ©trtiucfyen. 
,  fomm  !  toir  fa^lujjfen  ba  l>tnein. 


4030  SDu  ©ei[t  be§  2Biberf^rud^§  !    9?ur  ju  !  bu  magft  mtc^)  fii^ren. 
3d^  ben!e  bocfy,  ba§  iuar  rea)t  f  lug  gemacgt  ; 


198 


3um  23roden  toanbeln  toir  in  ber  28afyurgt§nad;t, 
Urn  un§  beliebig  nun  fytefelbft  ju  ifoliren. 


fiefy  nur  it>eld;e  bunten  $lammen  ! 
i(t  ein  muntrer  Glub  beifammen.  4035 

$leinen  ift  man  nid;t  aUetn. 


broben  mocfyt'  ic|  lieber  fetn  ! 
(Sd^on  fei>'  id)  ©httfy  unb  2BtrbeIrau$v 
S)ort  ftromt  bie  3Jienge  311  bent  335|en  ; 
3)  a  mu^  ft$  man$e§  ^atfyjel  lofen.  4040 

3Ji  e  $  I)  \  ft  o  $  $  e  I  e  8. 
man$e§  9iatfyfel  fnii^ft  fidj>  au$. 
bu  bie  grojje  SBelt  nur  faufen, 
SBir  tooHen  ^)ier  im  ©titten  faufen. 
©§  ift  bo$  lange  ^ergebrad^t,  . 

2)afe  in  ber  gro^en  2BeIt  man  Heine  SBelten  ma$t.  /    4*545 
3)  a  fel)'  id)  junge  §eE$en  nacft  unb  blo^, 
Hnb  alte  bie  fid;  flug  berfyutten. 
©eib  freunblid;,  nur  um  meinettoitten  ; 
®ie  9)Ju^  ift  Ilein,  ber  6^a^  ift  gro^. 
^d;  fyore  h)a§  toon  ^nftrumenten  tonen  !  4050 

^erflud;t  ©ef$narr  !   2Ran  mu§  fid;  bran  getoofynen. 
^omm  mit  !    ^omm  mit  !  @§  !ann  nia;t  anberS  fein, 
^5$  tret'  I>eran  unb  fiifyre  bid;  ^erein, 
Unb  id;  berbtnbe  bid;  auf  §  neue. 

2Ba§  f  agft  bu,  ^reunb  ?  bag  ift  letn  f  leiner  ^aum.       4055 
2)a  fiet)  nur  I)in  !  bu  fiefyft  ba§  @nbe  !aum. 
Sin  §unbert  ^euer  brennen  in  ber  Steifye  ; 


2Batpurgi«nad)t.  199 

•Bfan  tanjt,  man  fdfjtoattf,  man  focfyt,  man  trinft,  man  liebt  ; 
9hm  fage  mir,  too  e§  toa§  23effer§  gibt? 

8faufr 

4060  2Bttt(t  bu  bidfy  nun,  um  un§  fyier  einjufiiljren, 
2113  $aubrer  °ber  £cuf  el  probuctren  ? 


3n)ar  bin  idj  fe^r  geioo^nt  incognito  ju  gefyn, 

3)oc^  la^t  am  ©alatag  man  feinen  Drben  fe^n. 

@in  $nie&anb  jeicfinet  mid^  nid^t  au§, 
4065  2)oc^  ift  ber  ?Pferbefu§  fyier  ei>renbott  ju  §aul. 

(Sie^ft  bu  bie  (Sd^necEe  ba?    @ie  !ommt  ^erangefroc^en  ; 
i^rem  taftenben  ©eftcfyt 
fte  mir  fc^on  toa§  abgerod^en. 

SBenn  id^  auc^  toiU,  berldugn'  id^  bter  mid()  nicfjt, 
4070  ^omm  nur  !  Don  geuer  geEjen  h)ir  ju  geiter, 

^d^  bin  ber  2Serber  unb  bu  bift  ber  ^reier. 

3u  einigen,  bie  um  toergUmmenbe  $ol)Ien  ft^cn. 

3^r  alten  §errn,  toa§  mad|>t  i{>r  ^ier  am  G?nbe?' 

%<fy  lobt'  euc^,  toenn  icfj  euc^  ^iibfd^  in  ber  2Ritte  fanbe, 

3Son  @au§  umjirft  unb 
4075  ©enug  aUein  ift  jeber  ja 

©  e  n  e  r  a  I. 

2Ber  mag  auf  -ftationen  trauen  ! 
5Ran  ^abe  nod)  fo  btel  fiir  fte  getfyan  ; 
!J}enn  bei  bem  SSoIf,  toie  bei  ben  ^rauen, 
©tefyt  immerfort  bie  ^ugenb  oben  an. 

2K  i  n  i  ft  e  r. 

4080  3>e£t  ift  man  toon  bem  SRecfyten  atfjutoeit, 
34>  lobe  mir  bie  guten  2llten  ; 


200  5o«f*-    ^fter 


3)enn  freilid),  ba  fair  afre§  galten, 
35a.  toar  bie  recite  golbne  geit. 

*P  arto  enu. 

2Bir  toaren  toafyrlid)  aud)  nid)t  bumm, 
Unb  tfyaten  oft  hmS  toir  nid;t  foUten  ;  4085 

SDodj  je^o  le^rt  fid?  atte§  urn  unb  urn, 
Unb  eben  ba  fair's  feft  erfyalten  toottten. 


2Ber  mag  toofyl  iiberF)au))t  je|t  eine  @d)rift 

SSon  ma^ig  Ilugem  ^n^alt  lefen  ! 

Unb  toa§  ba§  Itebe  junge  3SoI!  betrifft,  409° 

©a§  ift  nod?  nie  fo  nafetoeiS  getoefen. 

JI  e  ^3  ^  i  ft  0  $  §  e  I  e  §  ber  auf  einmaf  fe^r  ott  erft^eint. 

3um  jiingften  Xag  fiif)!'  id)  ba§  SSoIf  gereift, 

3)a  id)  gum  le^tenmal  ben  ^ejenberg  erfteige, 

llnb,  toeil  mein  ^a^en  triibe  laitft, 

©o  ift  bie  2Belt  aitd?  auf  ber  ^Jleige.  4095 


^5^>r  ^erren  ge^)t  nid)t  fo  toorbei  ! 

2a^t  bie  ©elegertfyeit  nid)t  fa^ren  ! 

2lufmer!fam  blitft  nad)  meinen  SBaaren  ; 

@§  ftei)t  bat>ier  gar  mand)erlei. 

Unb  bod^  ift  nid)t§  in  meinem  2aben,  4100 

SDem  feiner  auf  ber  @rbe  gleid)t, 

nifyt  einmal  jum  tud^t'gen  @d)aben 

3Jlenfa)en  unb  ber  2SeIt  gereid)t. 

ift  ^»ier,  bon  bent  nid)t  33Iut  gefloffen, 
},  au^  bem  fid)  nid&t,  in  ganj  gefunben  2eib,  4105 


SJBalpurgignodjt.  201 

SBerjefyrenb  fyetfjeS  ©tft  ergoffen, 
$etn  ©dfytnuc!,  ber  nicfct  etn  Itebenstoiirbig  2Bei& 
SSerfufyrt,  lein  ©djtoert,  ba§  ntcfyt  ben  23unb  gebrod)en, 
9iirf)t  ettoa  ty  interriidte  ben  ©egenmann  burcfyftodfyen. 

3Jt  e  j>  fy  i  ft  o  ^j  ty  e  I  e  3. 

4110      ftrau  3Jiu^me  !  @ie  berftefyt  mtr  fc^Iec^t  bie 
©etfyan  gefc^e^n  !    ©efc&e^n  get^an  ! 
SSerleg'  @ie  ftc^  auf  -ifteuigfetten  ! 
9Jeuigfetten  jie^n  un§  an. 


»  mid^  nur  ntcfyt  felbft  bergeffe  ! 
4115     §etjj'  id^  mir  ba§  bod)  eine  -Uteffe  ! 

SJiep^iftop^eleg. 
35er  ganje  ©trubel  ftrebt  nad;  o&en  ; 
2)u  glaubft  ju  fcfyieben  unb  bu  totrft  gefd^oben. 

ftauft. 
2Ber  tft  benn  ba§  ? 

W  e  p  ^  i  ft  o  $  \)  e  I  e  3. 

33etradEjte  fte  genau  ! 
tft  ba3. 


2R  e  p  ^  i  ft  o  ^  ^  e  I  e  3. 

2lbam'§  erfte  ^rau. 

4120     5Zimm  btd^  in  5lc^t  bor  tbren  fd^onen  §aaren, 
SSor  btefem  <5d?mucf,  mit  bem  fte  etnjtg  fcrangt. 
2Benn  fte  bamtt  ben  jungen  2Rann  erlangt, 
<£o  la^t  fte  tfyn  fobalb  nidbt  luieber  fafyren. 


202  Scmft.    Srjler  £ljeil. 


3)  a  fitjen  jtoei,  bie  2tlte  mit  ber  ^ungcn  ; 

3)ie  fyaben  fcfyon  toa§  9tecf)t§  gefyrungen  !  4125 

91  ep$ij*0j>£  cleft. 

fyat  nun  fyeute  leine  9tu^. 
gefyt  jum  neuen  ^anj  ;  nun  lomm  !  h)ir  greifen  ju. 

31  a  u  ft  mit  ber  3ungen  tangenb. 
©tnft  ^att'  ic^  einen  fcfyonen  5lraum  ; 
35a  fa^  idj  einen  2l^felbaum, 
3h)ei  fd^one  2fyfel  gldn^ten  bran,  4130 

@ie  reijten  mid^,  ic^  ftieg  ^inan. 

2)  i  e  ©  c^  5  n  e. 
SDer  Sfyfeldjen  bege^rt  it>r  feF>r 
llnb  fdjon  bom  ^Sarabiefe  ^er. 
SBon  ^reuben  fii^I'  ic^  micf)  betoegt, 
2)ajj  aud^  mein  ©arten  fold^e  tragt.  4135 

3JI  e  ^  fy  i  ft  o  ^)  $  e  I  e  §  mit  ber  2ttten. 
Gstnft  i>att'  icfy  einen  toiiften  ^Craum  ; 
2)a  fa^>  id^  einen  gef^altnen  S&aum, 
2)er  ^att'  ein  ---  ; 
(So  —  e§  tear,  gefiel  mir'S  bod^. 

35  ie  211  te. 

^dfj  biete  meinen  beften  ©ru^  4140 

3>em  Siitter  mit  bem  ^ferbefu^  ! 
$alt'  (5r  einen  --  bereit, 
2Benn  @r  ---  nidjt  fcljeut. 


unter(tel;t  i 


28alpurgtSnad)t.  203 

4145     £at  man  eucb  lange  ntcfyt  betoiefen, 

@in  ©etft  ftefyt  nie  auf  orbentlid^en  $ufjen? 
•ftun  tanjt  ifyr  gar,  un§  anbern  3Jienfc^en  gleid?  ! 

25  i  e  6  $  5  n  e  tanjenb. 
2Ba§  toitt  benn  ber  auf  unferm  23att  ? 

$  a  u  ft    tanjenb. 

@t  !  ber  tft  eben  uberatt. 
4150     SSa§  anbre  tanjen  tnufe  er  fd^a^en. 

^ann  er  nid^t  jeben  ©a^ritt  befd?h)a|en, 

©o  tft  ber  (Sdjritt  fo  gut  al§  ntc^t  gefd^e^n. 

2(m  meiften  argert  i^n,  fobalb  h)tr  bortoart§  geljn. 

9Benn  i^r  eud?  fo  im  $reife  bre^en  tooUtet, 
4155     2Bie  er'§  in  feiner  alien  5RU^Ie  t^ut, 

®a§  bie^'  er  aEenfatt§  nod^  gut  ; 

93efonber§  toenn  i^r  ii>n  barum  begrii^en  foHtet. 


feib  nofy  immer  ba  !    3^ein  ba§  ift  uner^ort. 
SSerfd;h)inbet  bod^  !  2Btr  ^aben  ja  aufgellart  ! 
4160      £>a§  ^Teufel^adE  e§  fragt  nacfy  feiner  S^eget. 
3Sir  finb  fo  Hug  unb  bennodj)  fpu!t'§  in  Segel. 
9Sie  lange  f>ab'  iog  nic^t  am  S08al>n  ^in 
llnb  nie  h)irb'§  rein,  ba§  ift  bocfy  uner^ort  ! 


)  t  e  <    c  o  n  e. 
60  fyort  bod^  auf  un§  fyier  gu  ennu^iren  ! 


4165      3d)  fag'3  eud;  ©eiftern  in'3  ©efid^t, 

1)en  ©eifte§be^otigmu§  leib'  id}  nid;t; 
3)iein  ©eift  fann  ifyn  nid;t  ejerciren. 
fottgetangt. 


204 


$eut,  feb,  '  icb,,  ioitt  mir  nid)  t§  gelmgen  ; 

SDocfy  etne  SfJeife  nefym'  id)  immer  mit 

Unb  fyoffe  nocb,,  Dor  meinem  leijten  ©cfyritt,  4170 

3)ie  £eufel  unb  bie  Sifter  gu  bejluingen. 

3Ji  e  j>  I>  i  ft  o  $  ^  e  I  e  S. 
@r  totrb  fic^  glei$  in  eine  ^fii^e  fe^en, 
2)a§  ift  bie  2lrt  toie  er  fid?  foutagirt, 
Unb  toenn  Slutegel  ft$  an  feinem  @tei^  ergetjen, 
^ft  er  toon  ©eiftern  unb  "oon  ©etft  curirt.  4175 

3«  ^  a  u  |1,  ber  au«  bent  San$  getreten  ift. 

laffeft  bu  ba§  fdjone  3Kdbd;en  fasten, 

bir  jum  S^anj  fo  Ueblid^  fang? 


2ld^>  !  mitten  im  Gkfange  f^rang 

Qin  tot^eg  3Jiau§d^en  ifyr  au§  bem  2Runbe. 


ift  toa§  S^ed^tg  !    2)a3  ntmmt  man  m$t  genau  ;  4180 
©enug  bie  3Jlau3  toar  bo4)  nid^t  grau. 
2Ber  fragt  banacfy  in  einer  6d§aferftunbe  ? 

$auft. 
3)ann  f  al^  i$  — 

eplMfto^eleS. 
Ba§? 

au  ft. 


o,  fie^ft  bu  bort 
(Sin  blaffeS  fd)one§  ^inb  attein  unb  feme  fteb,  en  ? 
©ie  fdjiebt  fi$  langfam  nur  bom  Drt,  4185 

@ie  fc§eint  mit  gefdjloffnen  gii^en  ju  gef>en. 


2Batpurgt«ttad)t.  205 

mttfe  befennen,  bajj  mir  bdttd)t, 
fte  bem  gitten  ©retd^en  gleid?t. 

3ft  e  p  b,  t  ft  o  $  $  e  I  e  8. 

Safj  ba§  nur  ftefm  !    2)abei  toirb'S  niemanb  toofyl. 
4190      (£§  ift  ein  gauberbilb,  ift  Ieblo§,  eiu  ^bol. 
3^nt  gu  begegnen  ift  nid^t  gut  ; 
SSom  ftarren  Slid  erftarrt  be§  2Kenfc^en  Slut, 
Unb  er  hrirb  faft  in  @tctn  to  erf  eft,  rt, 
SSon  ber  3Jiebufe  b,aft  bu  ja  ge^ort. 


4195      ^iirtoafyr  e§  fmb  bie  2(ugen  etner 
35te  etne  liebenbe  §anb  nic^t  fd^Io^. 
2)a§  ift  bie  Sruft,  bie  ©retd^en  mtr  geboten, 
25  a§  ift  ber  fii^e  Seib,  ben  id?  geno^. 


ift  bie  3aitberei,  bit  [eid)t  berfitbjter 
4200      3)enn  jebem  tommt  fie  toie  fein  2iebd)en  Dor. 

&  au  ft. 

2Beld)  eine  2Bonne !  toeld?  em  Setben ! 
3d)  fann  toon  biefem  Slid;  nid)t  fd)eiben. 
SBic  fonberbar  mufe  biefen  fd;onen  §al3 
(Sin  einjig  rotb,e§  @d;niird)en  fd)miid:en, 
4205      9iid)t  breiter  aU  ein  3Jiefferriid:en ! 

•JRepfyiftopfyeleS. 
©anj  red^t !  id)  feb, '  e§  ebenfatt§. 
©ie  fann  ba§  §au^t  aud)  unter'm  2lrme  tragen ; 
2)enn  ^erfeu§  b, at'g  ib,r  abgefd)Iagen.  — 
9iitr  immer  bief e  2uft  jum  2Bab,  n ! 


206 


ba§  ^ugeld^en  fyeran,  4210 

£ier  tft'8  fo  lufttg  hne  im  prater  ; 
Unb  fyat  man  ntir'3  nid)t  anget^an, 
(So  fefy'  id^  iua^rlid^  ein  Sl^eater. 
gibf  8  benn  ba  ? 


fdngt  man  h)teber  an. 
@in  neue§  ©tiid,  ba§  le£te  ©tiic!  toon  fieben  ;  4215 

(Som'el  ju  geben  ift  aHfyier  ber  SBraud). 
(Sin  jDilettant  fyat  e§  gefc^rieben, 
Unb  jDilettanten  fpielen'S  aud). 

i^t  tl>r  §errn,  toenn  tc^>  berfa^totnbe  ; 

biletttrt'S  ben  93or^ang  aufjujie^n.  4220 


SBenn  id)  eud^  auf  bem  S3Iocf§berg  finbe, 
finb'  i$  gut  ;  benn  ba  gefyort  ii>r  ^>in 


ober 

D  b  e  r  o  n  §  unb  £  i  t  a  n  i  a  §  ®  o  I  b  n  e  £  o  $  j  e  i  t. 
Sntermeyo. 

Xfyeatermeifter. 
§eute  rufyen  toir  etnmal 
5ftiebing§  toacfre  <S5fnte. 
4225  Sllter  33erg  unb  feud)te§  %fyal, 

ift  bie  ganje  ©cene  ! 

§  erolb. 

bie  ^od^jeit  golben  fei 
©ott'n  funfjig  ^afyx  fein  Doritber  ; 
2lber  ift  ber  ©trett  Dorbei, 
4230  3)  a  §  golben  ift  mir  Iteber. 

D  ber  on. 

(5eib  ifyr  ©eifter  too  icfy  bin, 
©o  jeigt'g  in  biefen  ©tunben  ; 
^onig  unb  bie  ^onigin, 
@ie  ftnb  auf§  neu  berbunben. 


4235  Stommt  ber  ^?u(!  unb  bre^t  fid?  quer 

Unb  fd^Ieift  ben  gufj  im 


208 


^unbert  fommen  fyinterfyer 
©i$  aucfy  mit  ifym  511  freuen. 

Sir i  el. 

Slrtel  betoegt  ben  (Sang 

$n  fyimmlifd}  reinen  £5nen ;  4240 

SStele  $ra£en  lodt  fetn  ^lang, 
2)od^  locft  er  au^  bie  ©d^onen. 

D  ber  on. 

©atten,  bie  fid^  bertragen  tooUen, 
2ernen'§  toon  un§  beiben  ! 

SBenn  fid^  gtoete  lieben  fatten,  4245 

Sraud^t  man  fie  nur  511  fdjeiben. 

2;itania. 

©d^mottt  ber  3ftann  unb  griHt  bie  ^rau, 
<So  fa^t  fie  nur  befyenbe, 
gii^rt  mir  nad^i  bent  -Dtittag  6ie, 
llnb  ^^n  an  -ftorbenS  @nbe.  4250 

D  r  %  e  ft  e  r  X  u  1 1  i. 

Fortissimo. 

^liegenfcfynauj'  unb  9Jluc!ennaf' 
3Jiit  ifyren  2lnberh)anbten, 
f^rofd^  im  Saub  unb  ©rill'  im  ©ra§ 
finb  bie  3Jlufifanten ! 

Solo. 

ba  fommt  ber  2)ubelfadf !  4255 

ift  bie  ©eifenblafe. 
ben 
feine  (tumpfe 


* 
2Batpurgi8nad)t«traum.  209 


©eift  ber  ft  dj   erft  bilbet. 
©pinnenfufc  unb  $rbtenbaucfy 
4260  Unb  $lugel$en  bem  SBicfytdEjen  ! 

3toar  ein  £fyierdE)en  gibt  e§  ni$t, 
gibt  e§  ein  ©ebi$t$en. 


©in  $P  a  r  d)  e  n. 
Kleiner  ©d^ritt  unb  ^o^>er  (Sprung 
3)urd)  ^onigtl?au  unb  S)iifte  ; 
4265  3^ar  ^u  trip^elft  mir  genung, 

5Dod?  ge^t'S  nid^t  in  bie  Siifte. 

5Reugiertgcr  3fleifenber. 

3ft  ba§  nid^t  3J?a§feraben=6^ott? 
©ott  idf)  ben  2lugen  trauen, 
Dberon  ben  fcfyonen  ©ott 
4270  2lud^  fyeute  ^ier  ju  fd^auen? 

Drt^obojc. 

$lauen,  leinen 

bleibt  e§  aufe 
(So  toie  bie  ©otter 
©o  ift  aucfy  er  ein  2;eufel. 

3?orbif<$er  ^iinftl 

4275  Sa§  idp  ergreife  ba§  ift  F>eut 

nur  ffigjentoetfe  ; 
id?  bereite  mid)  bet  £t\t 
3ur  italidn'fd^en  3fleife. 

«P  u  r  i  ft. 

3ld^>  !  tnein  Ungliid  fiiF)rt  mic^ 
4280  2Bie  n)irb  nic^t  fyier  gelubert  ! 


210 


Unb  toon  bem  gangen 
<5inb  jtoeie  nur  gepubert  ! 


35er  $uber  ift  fotote  ber  Nod 

gur  alt'  unb  graue  28eib$en  ; 

2)rum  fi$'  id)  naclt  auf  tneinem  S3od  4285 

Unb  jeig'  ein  ber6e§ 


9JI  a  t  r  o  n  e. 

2Bir  ^aben  ju  biel  Sebengart, 
Um  l)ier  mit  eitcfy  ju  tnaulen  ; 
%)o<S)  fyojf  i^i,  fottt  i^>r  jung  unb  gart, 
(So  h)ie  ifyr  feib,  berfaulen.  4290 

S  a  p  e  U  m  e  i  ft  e  r. 

^•Uegenfcfynauj'  unb  9ftttcfennaf' 
Umfd^iDdrmt  mir  nidjt  bte  9?acEte  ! 
^rofc^)  im  Saub  unb  ©rift"  im  ©raS, 
60  bleibt  bod^  auc^  im  Xacte  ! 

Sffiinbfa^ne  nac^  ber  einen  @eite. 

©efellfc^aft  tote  man  toiinfdjen  fann.  4295 

SBa^r^aftig  tauter  Svaute  ! 

Unb  ^unggef  eUen,  3Jtann  fur  3Jiann  ! 

2)ie  fyoffnungSboIIften  Seute. 


2Binbfai>ne  nad^  ber  anbern  @eite. 

Unb  ttiut  ftc^  nidjt  ber  Soben  auf 

@ie  atte  ju  berf4>Iingen,  4300 

@o  toitt  id^  mit  be^enbem  2auf 

©leicfy  in  bie  §5He  fpringen. 


SBatyurgiSnadjtStrcmm.  211 


36  en  i  en. 

2ll§  ^nfecten  finb  toir  ba, 
Wit  fleinen  fd§arfen  @$eren, 
4305  (Satan,  unfern  £>errn  ^Bapa, 

2BUrben  311  berefyren. 


©efyt!  tote  fie  in  gebrdngter  ©djaar 
^aii)  jufammen  fcfyerjen. 
2lm  @nbe  fagen  fie  nocfy  gar, 
43  10  @ie  fatten  gute  Bergen. 

3JJ  u  f  a  g  e  t. 

^d^  tnag  in  biefem  §e£enf)eer 
^lid^  gar  511  gern  berlieren  ; 
3)enn  fretlid)  biefe  toii^t'  id^  e^'r, 
21I§  3Rufen  anjufii^ren. 

Ci-devant  ©eniug  ber  Qtit 
4315  9Jlit  red^ten  2euten  toirb  man 

^omm,  faffe  meinen  ,3tyfd  ! 
3)er  SBIodte&erg,  iuie  ber  beutfd^e 
£at  gar  einen  breiten  ©i^fel. 

•fteugieriger  Sleifenber. 
@agt  lt>ie  f>et^t  ber  fteife  3Jlann? 
4320  @r  gefyt  mit  ftoljen  ©Britten. 

@r  fcfmopert  toa§  er  fd^ino^ern  lann. 
,f@r  fpilrt  nad^  ^efuiten." 


$n  bem  ^laren  mag  id^)  gern 
Unb  aud^>  im  Xriiben  fifdjen  ; 


212  frnift.    Grfter 


2)arum  fefyt  ifyr  ben  frommen  £>errn  4325 

<3td)  aucfy  mit  £eufeln  mifcfyen. 

2B  e  1 1 1  i  n  b. 

$a  fiir  bie  frommen,  glaubet  mir, 
3ft  atteg  ein  SSefcifel; 
@ie  bilben  auf  bem  33IodE§berg  ^>ier 
©ar  mand^e§  Gonbentifel.  4330 

%  a  n  j  e  r. 

S)a  fommt  ja  toofyl  ein  neue§ 
£5$  fyore  feme  Strommeln. 
9^ur  ungeftort !  e§  fmb  im 
2)te  unifonen  Sommeln. 

SEanjmeifter. 

2Bte  jeber  bod^  bie  Seine  lupft !  4335 

<3ic^  h)ie  er  !ann  ^er 
2)er  $rumme  f^ringt,  ber 
Unb  fragt  nic^t  h)ie 

eler. 
fcfytoer  ba§ 

Unb  gab'  fid?  gern  ba§ 
6§  eint  fte  i^ier  ber  SDubelfacf,  4340 

SSie  Dr^^eu§  2eier  bie  Seftjen. 

2)ogmati!er. 

3d)  laffe  micfy  nic^t  trre  fc^retn, 
bitrd?  &ntit  nod?  Stoeifcl. 
Xeufel  mu^  boc^  etoa§  fein ;  4345 

SBie  ga'b'§  benn  fonft  audg  Xeufel? 


2Balpurgi«nad)t8traum.  213 

3  b  e  a  I  i  ft. 

£)ie  $I)antafte  in  meinem  (Sinn 
!^ft  biejjmal  gar  ju  f)errifd). 
$iirh)al)r,  toenn  id)  ba§  atte§  bin, 
4350  ©o  bin  id)  fyeute  ndrrifd). 

3t  e  a  I  i  ft. 

£>a§  2Befen  ift  mir  recfyt  jur  Dual 
Unb  mu§  mid)  6a^  berbrie^en ; 
^d)  ftefye  ^)ier  gum  erftenmal 
3^id)t  feft  auf  meinen  gii^cn. 

©u^crnaturaltft. 
4355  9ftit  biel  SSergniigen  bin  icf)  ba 

Unb  freiie  mid)  mit  biefen ; 
2)enn  toon  ben  Steufeln  fann  id)  ja 
3luf  gute  ©eifter  fd^Iiefeen. 

©  I  e  p  t  i  f  e  r. 

<Sie  gef>n  ben  glcimmd)en  auf  ber  @^ur, 
4360  Unb  glaub'n  ftd)  naf>  bent  ©rfjaije. 

Sluf  ieufel  reimt  ber  ghmfd  nur ; 
2)a  bin  id)  red)t  am  ^5la^e. 

Gapellmeifter. 
grofd)  im  2aub  unb  ©riH'  tm  ©ra§ 
SSerfludjte  ^ilettanten ! 
4365  gliegenfdjnauj'  unb  ^udEennaf 

3^r  feib  bod?  9JJufi!anten ! 

2)ie  ©eh)anbten. 
<San§fouci  fo  tjei^t  ba§  §eer 
3Son  luftigen 


214 


3luf  ben  $ujjen  gefyt'S  ni$t  mefyr, 

3)rum  gefyn  fair  auf  ben  $opfen.  4370 

3)  i  e  llnbefyitlflicfyen. 
<3onft  Ijaben  toir  mandjen  Stffen  erfd^ranjt, 
•Jhm  aber  ©ott  befo^Ien  ! 
Unfere  ©d^u^e  finb  burd^getanjt, 
2Bir  laufen  auf  nacften  ©o^Ien. 

^S  r  r  It  $  t  e  r. 

SSon  bem  (Sumpfe  fommen  loir,  4375 

2Borau§  h)ir  er[t  entftanben  ; 
2)od^  finb  fair  gletd^  im  S^ei^en  ^)ier 
2)ie  gldnjenben  ©alanten. 

©iernfc^nu^pe. 
2lu§  ber  £>5I)e  f<^o^  td^  ^er 
3>m  ©terns  unb  ^euerfd^eine,  4380 

Siege  nun  im  ©raje  quer, 
SSer  i)ilft  mir  auf  bie  Seine? 

3>ie  ^Jiaffiben. 
?pla^  unb  ^pla^!  unb  ringS^erum^ 
@o  ge^n  bie  ©ragmen  nieber, 
©eifter  fommen,  ©eifter  audj  4385 

@ie  I;aben  plumpe  ©lieber. 


Sretet  ni^t  fo  maftig  auf 

2Sie  ©le^^antenlalber, 

Unb  ber  plumpft'  an  biefem  £ag 

@ei  ^ucl  ber  berbe  felber.  4390 


2Bafyurgi«nad)tetrcmnt.  215 


SCriel. 

©ab  bie  liebenbe  -ftatur 
@ab  ber  ©eift  eudj) 
^olget  tneiner  leid^ten  (Spur, 
2luf  gum  ^ofen^ugel! 

D  r  dj  e  ft  e  r. 

Pianissimo. 

4395  SSoIfenjug  unb  -ftebelflor 

©r^etten  fid^  toon  oben. 
Suft  im  2aub  unb  2Binb  im 
Unb  aHe§  i(t  jerftoben. 


SriiBer 


g  a  u  ft. 

ftauft. 

$m  Slenb  !  SSerjtoeifelnb  !  Gsrbdrmlicfy  auf  ber  @rbe  lange 
toerirrt  unb  nun  gefangen!  2H§  3ftiffetfyaterin  im  Verier  gu 
entfetjlicfyen  Qualen  eingefperrt  ba§  fyolbe  unfelige  ©efcfjbpf  ! 
23iS  ba^in  !  bafyin  !  —  SSerrat^ertfd^er  nicfyt§n)iirbiger  ©eift,  unb 
ba§  Ijaft  bu  mir  ber^eimlid^t  !  —  <Stefy  nur,  ftef)  !  2Batje  bte  5 
teuflif^en  2lugen  ingrimmenb  im  $opf  ^erum  !  @te^  unb 
trutje  mir  burc^)  beine  unertraglicfye  ©egentoart!  ©efangen! 
^m  unh)ieberbringlid^en  @lenb  !  SBofen  ©eiftern  iibergeben 
unb  ber  ricfytenben  gefii^ttofen  3Jtenfd^»f>eit  !  Unb  micfy  toiegft 
bu  inbefc  in  abgefd^madten  3er[treuungen,  berbirgft  mir  ifyren  10 
h)ad;fenben  jammer  unb  laffeft  fie  ^itlflog  berberben  ! 

3Ji  e  ^  f)  \  ft  o  ^  $  e  I  e  §. 
@ie  ift  bie  @rfte  nid^t. 

^auft. 

£unb!   ab[c^euli(^e§  Unifier!  —  SBanble  ifyn,  bu  unenbs 
liefer  ©eift  !  toanble  ben  2Burm  toieber  in  feine  §unb§geftalt, 
ioie  er  ficfy  oft  nad^tlid^er  SBeile  gefiel  toor  mir  ^ergutrotten,  bem  15 
fyarmlofen  2Sanbrer  bor  bie  ^iipe  ju  fottern  unb  fid^  bem  nie= 
berftiirjenben  auf  bie  ©dpultern  ju  t)dngen.    SBanbl'  i^n  twieber 

in  feine  2ie6Ung§bilbung,  ba|  er  toor  mir  im  6anb  auf  bem 

(316) 


Sriiber  Sag.    gelb.  217 

frieze,  i$  ifyn  tntt  gatfjen  trete,  ben  toertoorfnen  !  — 
20  $)ie  @rfte  ntcfyt!  —  gammer  !  jammer!  toon  feiner  2ftenfd(jens 
feele  511  faffen,  bafj  mefyr  alg  ein  ©efc^opf  in  bte  £iefe  biefeg 
©lenbeg  fcerfanf,  bafc  ni$t  ba§  erfte  genug  tfyat  fitr  bte  ©c^ulb 
aEer  ii&rigen  in  fetner  tninbenben  XobeSnot^  toor  ben  2lugen 
be§  etotg  SBerjei^enben  !   9J?tr  toit^It  eg  9Jkr!  unb  Se6en 
25  bag  @Ienb  btefer  ©tngigen  ;  bu  grmfeft  gelaffen  itber  bag 
fal  bon  Xaufenben  fyn  I 

Wl  e  $  f)  i  ft  o  p  ^  e  I  e  3. 

•Jhm  finb  toir  fc^on  toieber  an  ber  ©renje  unfereg  SBt^eg,  ba 

too  eitd!)  SJienfd^en  ber  ©inn  ii&erfdjmato&t.    2Baritm  mad^ft  bu 

©emetnfd^aft  mit  ung,  toenn  bu  fie  ntcfyt  burd^fii^ren  fannft? 

30  SSittft  fltegen  unb  bift  bor'm  (Sd^toinbel  nicfyt  ftd^ier?    2)rangen 

toir  ung  bir  auf,  ober  bu  bid?  img  ? 


gletfd^e  betne  gefrafjigen  3«^ne  m™  ™&  f°  entgegen  ! 

efelt'g  !  —  ©rojjer  ^errlic^er  ©etft,  ber  bu  tnir  ju  erfd^etnen 

toiirbigteft,  ber  bu  mein  §erj  fenneft  unb  meine  ©eele,  toarum 

35  an  ben  ©cfyanbgefeUen  mid^  fc^mieben,  ber  ficfy  am  ©d^aben 

tuetbet  unb  am  2Serberben  fi^i 


@nbigft  bu? 

gfait;^, 

3tette  fie  !  ober  h)efy  bir  !    2)en  grd^Iid^ften  glud^)  itber  bicfy 
auf  ^a^rtaufenbe  ! 

m  e  p  $  t  ft  o  p  ^  e  I  e  g. 

4o  ^cf)  !ann  bie  Sanbe  beg  9iad&erg  nid^t  lofen,  feine  ^Riegel 
nic^t  offnen.  —  9tette  fie  !  —  SfSer  toar'g,  ber  fie  in'g  Serberben 
fturjte?  3 


218  8a«fl-    Srfter 


fcticft  ftntb  itmljer. 
3ft  e  b  6,  i  ft  o  to  b,  e  I  e  g. 

©reifft  bu  nacfy  bent  Conner?    3Bofyl,  baft  er  eudEj  elenben 
©terblidjen  ntcfyt  gegeben  toarb  !   !Den  unf^ulbig  (Sntgegnenben 
ju  jerfcfymettern,  ba§  ift  fo  ^rannens2lrt  ficfy  in  SSerlegens  45 
^eiten  Suft  ju  madden. 

gauft. 
Srtnge  mid)  fyin  !    @ie  foil  fret  fein  ! 

W  e  $  $  t  ft  o  |>  ^  c  I  e  8. 

Unb  bte  ©efaijr  ber  bit  bid?  au§fe£eft?    SBtffe,  nod^)  liegt 
auf  ber  ©tabt  Slutfd^itlb  toon  beiner  §anb.    liber  be§  @r= 
fd^Iagenen  ©tatte  fd^toeben  rad^enbe  ©eifter  unb  lauern  auf  50 
ben  toteberfefyrenben  Berber. 


ba§  bon  btr  ?   5Korb  unb  £ob  einer  2BeIt  iiber  bt$ 
Unge^euer  !    ^ii^re  nttd^  fyin,  fag'  id^,  unb  befrei'  fie  ! 

3JUp&,iftopfyele§. 

^d^  fii^re  bidtj  unb  ioa§  td^  tb,un  fann,  fyore  !    §abe  id^  aHe 
SRad^t  im  §tmmel  unb  auf  Srben?    2)e§  ^^urnerg  (Sinne  toitt  55 
id^  umnebeln,  bemac^tige  bid?  ber  ©d^liiffel  unb  fii^re  fie  ^er= 
aug  ntit  5Renfd^enE>anb.    $cfy  n^ad^e!  bte  ^au^cr^ferbe  finb 
bereit,  id^>  entfit^re  eud^.    S)ag  berntag  id^. 

8fa'«1l. 

2luf  unb  babon  ! 


Dffcn   gelb. 
g;  a  ii  ft  2ftepljiflo|)I)eIe8,  auf  fdjtoarjen  ^ferben  baljer  braufettb. 

ftauft. 

2Sa§  toeben  bie  bort  urn  ben  Slabenftein? 

3nej}^iftoj)^elcg. 
4400      SBeifj  nid^t  lua§  f:e  fod^en  unb  fd^affen. 

Sauft. 
(Sd?toebcn  auf,  f^toeben  ab,  neigen  ftd^,  beugcn  ftd^. 

2J?e^^if 
(Sine  ^erenjunft. 

g 
<Bte  ftreuen  unb  hjei^en. 

3Ke 
Sorbet!   SBorbei! 


®  e  r  f  e  t. 

g  o  it  jl  mit  einetn  S3unb  ©djtiiffel  mtb  eincr  2ampe,  ttor  einem  eifenten 


fafet  em  langft  enttoofynter  ©cfyauer,  4405 

-Jftenfcfjfyeit  ganger  jammer  fa^t  mid^  an. 
it)of>nt  fie  ^tnter  btefer  feucf)ten  SRauer, 
Unb  i^r  SSerbrerfjen  toar  ein  guter  SSa^n  ! 
2)u  gauberft  ju  i^r  ju  gefyen  ! 

3)u  fiird^teft  fie  toieber  ju  fe^en  !  4410 

$ort  !    3)ein  3aSen  3D0ert  ben  2^ob  ^eran. 
(Sr  ergreift  ba8  @d^Io§.    @§  ftngt  intoenbig. 
«meine  Gutter,  bie  §ut', 
3)ie  mid^  umgebrac()t  ^>at  ! 
•JJlein  SSater,  ber  (Sc^elm, 

S)er  micfj  geffen  I>at  !  4415 

9Jiein  ©cfytoefterlem  Iletn 
§u&  auf  bie  33  ein', 
2ln  einem  Itt^Ien  Drt  ; 
2)a  h>arb  id^  ein  fcfyoneS  SBalbbogelein; 
^liege  fort,  fliege  fort  !  4420 

g  ail  ft   auffcEiUefeenb. 
<5ie  a^net  nic^t,  ba^  ber  ©eliebte  laufd^t, 
2)ie  ^etten  !Iirren  fyort,  bag  @tro^>,  ba§  raufd^t. 
(Sr  tritt  ein. 


tferfer.  221 

2ft  a  r  g  a  r  e  t  e  fuf)  auf  bent  ?ager  toerbergenb. 
SSeb, !    2Beb, !    ©ie  lommen.    SBittrer  £ob ! 

g  a  u  ft  teife. 
©tiU  !    ©tiU  !    ^cfy  !omme  bid^  ju  befreien. 

2R  a  r  g  a  r  e  t  e   fid)  ttor  i^n  Ijintoaljenb. 
4425      Sift  bu  ein  2Renfc&,,  fo  ftib, Ie  meine 


toirft  bie  SBac^ter  au§  bent  (Sd^Iafe  fd^reten  ! 
(Sr  fagt  bie  ^etten,  fie  a 


2R  a  r  g  a  r  e  t  e   auf  ben  $nieen. 

2Ber  ^at  btr  $en!er  btefe  SKacfyt 

liber  rntd^  gegeben  ! 

S)u  ^olft  mtdp  fd)on  um  -iDitttemadjt. 
4430     (Srbarme  btcb;  unb  lafc  mtc^  leben  ! 

Sft'S  morgen  frill)  nidjit  getttg  genung  ? 
@ie  fle^t  auf. 

S3in  \<fy  bod^  nod^  fo  jung,  fo  jung  ! 

Unb  foil  fcb,  on  fterben  ! 

©c^on  tear  tc&,  auc^,  unb  ba§.lcar  metn  SSerberben. 
4435      Wat)  iuar  ber  $reunb,  nun  tft  er  toett  ; 

3erriffen  Itegt  ber  ^ranj,  bie  33lumen  jerftreut. 

gaffe  mic^  nid)t  fo  getoaltfam  an  ! 

©cb,  one  ntid^  !    2Ba^  t>ab'  icb,  bir  get^an  ? 

£a^  mic&,  ntcb,  t  bergeben§  fleb,en, 
4440     £ab'  id^  bicb,  boc^  mein'  2:age  nid^t  gefeb,  en  ! 

ftauft. 
2Berb'  \fy  ben  jammer  iiberfteb,  en  ! 


222 


•Jftargarete. 

3d)  bin  nun  ganj  in  beiner  2Racf)t. 
Safe  mid;  nur  erft  ba§  $inb  nod)  tranfen. 
3$  fyerjt'  e§  biefe  ganje  -iftadjt  ; 

<3ie  na^men  mir'g,  urn  midj  ju  Iranfen  4445 

Unb  fagen  nun,  id^>  ^att'  e§  umgebrac^t. 
Unb  niemaU  toerb'  id)  toieber  fro^. 
@ie  fingen  2ieber  auf  mid;  !   @g  ift  bog  Don  ben  Seuten! 
(Sin  alte§  9Jla^rd)en  enbigt  fo, 
SBer  ^ei^t  fie'§  beuten  ?  4450 

$  a  u  ft  nrirft  jtd|  nieber. 

(gin  Siebenber  liegt  bir  gu  gii^en 

®ie  ^ammerfned^tfdjiaft  aufjufd;Iie^en. 

9Kargarcte  hiirft  ftt^  311  iljm. 
D  Ia^  un§  fnien  bie  £eil'gen  anjurufen  ! 
<2iefy  !  unter  biefen  ©tufen, 

Unter  bet  <Sd)h)ette  4455 

©iebet  bie 


3Jlit  furd^tbarem  ©rimme, 
9}Jad)t  ein  ©etofe  ! 

^  a  u  ft   taut. 
©retd)en  !    ©retdjen  !  4460 

SJiargarete   aufmerffam. 

2)a§  toar  be§  5reuni>eg  ©timme  ! 

@ie  fpringt  ouf.    2)ie  ^etten  fatten  aB. 

SBoifter?    ^dj  ^ab'  il>n  rufen  fjoren. 
$d)  bin  frei  !    2Jttr  foil  niemanb  iue^ren. 


223 


2ln  fetnen  £al§  toiH  id)  fliegen, 
4465      2ln  feinem  23ufen  liegen  ! 

@r  rief  ©retd^en  !     @r  ftanb  auf  ber  <Sd)toeHe. 
2Ritten  burl's  £eulen  unb  $lappen  ber  £J6He, 
3)urd)  ben  grimmigen  teuflifc^en  ^>o^n, 
©rfannt'  id^  ben  fii^en,  ben  liebenben  Xon. 

gauft. 
4470      3$  Mn'8! 

Margaret  e. 
2)u  Biff  8  !    D  fag'  e§  noo?  etnmal  ! 

3^n  faffenb. 

©riff  3!    @rtft'8!    SBo^in  ift  atte  Dual  ? 
2Bo^in  bie  Stngft  be§  ^erfer§?  ber  ^etten? 
©u  Bift'3  !    ^ommft  mic^  ju  retten  ! 
^d^  bin  gerettet  !  — 
4475      S$on  ift  bie  @traf$e  toieber  ba, 

2luf  ber  id)  bid)  gum  erftenmale  fafy, 

Unb  ber  i>eitere  ©arten, 

2Bo  id)  unb  SHart^e  beiner  toarten. 

5  a  u  ft  fortftrebenb. 
^omm  mit  !  $omm  mit  ! 

SJlargarete. 

D  toeile  ! 

4480     2SeiI'  id?  bod)  fo  gern  too  bu  toeileft  ! 
Siebfofenb. 


9Benn  bu  nid)t  eileft, 

9Berben  toir'g  t^euer  bu^en  miiffen. 


224 


Margaret  e. 

2Bie?  bu  fannft  nidjt  mefyr  fiiffen? 
3Jiein  greunb,  fo  !urj  bon  mir  entfernt,  4485 

Unb  fyaft  '*  ftftffen  berlernt? 
SBarurn  toirb  mir  an  beinem  §alfe  fo  Bang? 
2Benn  fonft  Don  beinen  SBorten,  beinen  SItdEen 
(Sin  ganger  ^immel  micp  iiberbrang, 
Unb  bu  mtcfj  fii^teft  al§  toottteft  bu  mid)  erfttdm         4490 
^uffe  mid?  ! 
©onft  ittjf'  id)  bid;  ! 

@ie  itmfa§t  il^n. 

D  toe^  !  beine  Sip^en  finb  fait, 
(Sinb  ftumm. 

2Bo  ift  bein  Sieben  4495 

©eblieben? 
2Ber  brad^te  mid;  brum  ? 

@ie  toenbet  ftc^  Don  i^m. 


mir  !  Siebd)en,  faffe 
bid;  mtt  taufenbfad;er 
folge  mir  !  $d;  bitte  bid;  nur  biefj  !  4500 

SJiargarete  311  iljm  gemenbet. 
Unb  bift  bu'g  benn  ?    Unb  bift  bu'S  aud; 


^auft. 
^d;  bin's  !  £otmn  mit  ! 

•Margaret  e. 

S)u  mad;ft  bie  g-effcln  log, 
S'Zimmft  toieber  mid;  in  beinen  @d;oo§. 


flerfer.  225 

2Bie  lommt  e§,  bajj  bu  bicfy  bor  mir  nidjt  f  d^euft  ?  — 
4505     Unb  toeifet  bu  benn,  mein  $reitnb,  toen  bu  befreift? 


$omm  !  lomm  !   <3$on  toeidEjt  bie  tiefe  -ftacfjt. 

•JKargarete. 

SJieine  3Jtutter  ^ab'  id^  umgebrad^t, 

•Dtein  ^inb  t)ab'  id^  ertrdnft. 

2Bar  e§  nid§t  bir  unb  mir  gefcfyenft  ? 
4510     Sir  audj.  —  2)u  bift'S  !  icfy  glaub'  e§  laum. 

©ib  beine  £anb  !  @§  ift  fein  ^raitm  ! 

Seine  liebe  £anb  !  —  2ld^  aber  fie  ift 

S&ifcfye  fxe  ab  !  2Bie  micfy  baud^t 

3ft  Slut  bran. 
4515     2ld)  ©ott  !  2Ba§  fyaft  bu  get^an  ! 

6te<f  e  ben  35egen  ein  ; 

3<^  bitte  bid)  brum  ! 


ba§  SSergangne  bergangen  fetn, 
S)u  bringft  mid9  urn. 

SRargarete. 
4520      9Zein,  bu  mufet  iibrig  bleiben  ! 

3^>  h)itt  bir  bie  ©raber  befd^reiben. 
giir  bie  mufjt  bu  forgen 

morgen; 

3Jiutter  ben  beften  ^3Ia|  geben, 
4525      3Jieinen  SBruber  fogleid^  barneben, 
3Kid)  ein  toenig  bei  <5eit', 
nid;t  gar  ju  toeit  ! 


226  gouft    (Srfter 


Unb  ba§  $leine  mir  an  bie  recite  SBruft. 
Sftiemanb  toirb  fonft  bei  mir  liegen  !  — 

an  beine  <5eite  ju  fcfymiegen  4530 

toar  ein  fiifjeS,  ein  fyolbeS  ©lurf  ! 
Slber  e§  Jt>iH  mir  nid^t  mefyr  gelingen  ; 
2Rir  ift'§  al§  mii^f  id^  mtd^  jit  bir  jtoingen, 
31I§  ftie^eft  bu  mi$  toon  bir  juriirf  ; 
Unb  bodj>  6ift  bu'§  unb  blicfft  fo  gut,  fo  fromm.  4535 


bu  bafe  idj  e§  bin,  fo  lomm  ! 

Margaret  e. 
SDafyinattS? 


Margaret  e. 
3ft  ba§  ©rab  braufe', 
Sauert  ber  2;ob,  fo  lomm  ! 

SSon  ^ier  in'§  ehrige  Sfiu^ebett  4540 

Unb  toeiter  feinen  ©djritt  — 
®u  ge^ft  nun  fort?    D  ^einrid?,  fonnf  i$  mit! 

^auft. 
S)u  f  annft  !   (So  tooHe  nur  !   SDie  2:^iir  fte^t  offen. 

Margaret  e. 

3$  barf  nidjt  fort  ;  fiir  midb  ift  ni^t§  gu  fyoffen. 
2Sa2  ^ilft  eg  fliei)n  ?    <3te  tauern  bod?  mir  auf.          4545 
@§  ift  fo  elenb  betteln  ju  miiffen, 
Unb  nocfy  baju  mit  bbfem  ©etoiffen  ! 
@3  ift  fo  elenb  in  ber  ^urnbe  fdjtoeifen, 
Unb  fie  toerben  mid^  bod^  ergreifen  ! 


tferfer.  227 

gouft. 


4550     3$  bltib*  bet  btr. 

SRargaretc. 
©efdjtoinb!  ©efd&toinb! 


9tette  bein  arme§ 
$ort  !  ^mtner  ben  28eg 
2lm  %$a<fy  ^tnauf, 
4555     tiber  ben  ©teg, 

^n  ben  2BaIb  fytnetn, 
2inf§  too  bie  ^Ian!e  ftetyt, 


'  e§  nur 
4560     6§  toitt  ftd^ 

@§  ja^pelt  nodf>  ! 
SRette!  9^ette! 

0-auft. 

Seftnne  bid^  bod^)  ! 
9^ur  (Sinen  ©d^ritt,  fo  btft  bu  fret  ! 

•SDlargarete. 

4565     2Bdren  totr  nur  ben  SBerg  borbei  ! 

35a  ft^t  meine  2Rutter  auf  etnem  (Stein, 

6§  fa|t  micfy  fait  bet'm  ©c^opfe  ! 

2)a  fi^t  meine  Gutter  auf  etnem  <3tetn 

Unb  toadEelt  mit  bent  ®opfe  ; 
4570     <5te  toinft  nic^t,  fie  ntcft  nid^t,  ber  ®opf  tft  i^r  fd^toer, 

<5ie  fd^Itef  fo  lange,  fte  toac^t  ntc^t  me^r. 

@te  fd^Iief,  bamtt  totr  un§  freuten, 

@§  toaren  gliic!lid§e 


228  SauP-    ®ffl« 

gfauft. 

£ilft  fyier  !ein  $lefy  en,  fyilft  !ein  6agen ; 
@o  toag'  icb/g  bicb,  fyintoeg  $u  tragen.  4575 

•Uiargaret  e. 

Safj  tnicb, !   -ftem,  14)  leibe  !eine  ©etoalt ! 
$affe  mid^  nid^t  fo  tnorberifd^  an ! 
©onft  fyab'  t^>  bir  ja  atte§  ju  2ieb'  get^an. 

^aup. 
2)er  Sag  graut !  Sie&cfyen !  £ie&d)en ! 

Margaret  e. 

Sag !  $a  e§  toirb  Sag !  bet  Ie$te  Sag  bringt  ^erein ;  4580 

3Jiein  ^oc^jeittag  foHt'  e§  fein ! 

@ag'  niemanb  bafj  bu  fa^on  6ei  ©retaken  toarft. 

SBe^  meinem 

(£§  ift  eben 

28tr  toerben  iin§  toteberfe^n ;  4585 

2lber  nid^t  bet'm  Sanje. 

S)ic  9Jlengc  brangt  fic§,  man  ^ort  fxc  nic^t. 

S)er  ^Ia|,  bie  ©affen 

$6nnen  fie  ntci^t  faffen. 

2)ie  ©locEe  ruft,  ba§  @tabc$en  brid^t.  4590 

3Bie  fie  micfr,  btnben  unb  ^aden ! 

3um  iBIutftub,!  bin  id^  fd^on  entriidft. 

@c§on  judt  nad^  jebem  ;fta<fen 

S)ie  ©d^cirfe  bie  nad?  meinem  jiicft. 

(Stumm  liegt  bie  SBelt  h)ie  ba§  ©rab !  4595 

ftauft. 
D  h)dr'  io)  nie  geboren ! 


Verier.  229 


erfdjeint  braufjen. 
2luf  !  ober  ifyr  feib  berloren. 


2JZeine  ^Sferbe  fcfyaubern, 
4600         £>er  3Jlorgen  bammert  auf. 

•Bfargarete. 

2Sa§  ftetgt  au§  bem  23oben  ^erauf  ? 
2)er  !  ber  !    <3$tcf  t^n  fort  ! 
2Ba§  ft)iH  ber  an  bem  fyetltgen  Drt? 
(5r  hriU  mid^  ! 

gauft. 
S)u  foUft  leben  ! 

SRargarete. 
4605         ©eridjit  ©otte§  !    2)ir  ^ab'  t$  mid^  iibergebcn  ! 

3Jle^^ifto)3^eIe§gu  gauft. 
^omm  !  fomm  !    %<$  laffe  bic^  mit  i^>r  im 

2Jiargarete. 

35ein  bin  idfy,  SSater  !    S^ette  mid9  ! 
3$r  @ngel  !    ^^r  fyeiltgen  ©d^aaren, 
Sagert  euc^  uml>er,  mid)  gu  betoa^ren  ! 
4610         £einricfy  !    2Rir  graut'S  bor  bir. 


9ft  e  p  ^  i  ft  o  p  ^  e  I  e  §. 
©ie  tft  gerid^tet  ! 

©  t  i  m  m  e  »on  obeiu 
3ft  gerettet  ! 


230  goujt.    (Srfler 


£er  ju  tnir  ! 
SSerfdjnrinbet  mit  g  a  u  ji. 

t  i  m  m  e  »on  imten,  tier^attenb. 


NOTES, 


ABBREVIATIONS. 


Cf.  Compare,  see. 

C.M.  Christlich  Meynenden  Faust-book  (Intr.  p.  xvii). 

D.M.  Deutsche  Mythologie  (see  under  Grimm,  Appendix  I). 

Fgm.  Fragment  of  1790  (Intr.  p.  xliv). 

G.-J.  Goethe-Jahrbuch. 

Intr.  Introduction. 

1.  line. 

p.  page. 

Par.  Paralipomena  (see  under  Strehlke,  Appendix  I). 

U.  Urfaust,  Gochhausen  Faust  (Intr.  pp.  xxxix,  xl). 

V.  L.  Vierteljahrschrift  fur  Litteraturgeschichte. 

Wb.  Worterbuch. 

Werke.  Goethe's  Works,  Weimar  Edition  (Intr.  p.  x,  foot-note). 

Werke  H.  «  "       Hempel       "  "         "          " 

equivalent  to. 

-*•  passing  into,  becoming. 

+  ensuing  stage-direction. 

Other  common  abbreviations,  including  those  of  familiar  grammatical  and 
philological  terms,  books  of  the  Bible,  etc.,  do  not  require  explanations.  Where 
a  work  is  referred  to  by  the  author's  name  only,  consult  the  bibliographical  list  in 
Appendix  I. 


3  u  e  t  g  n  un  g. 


THESE  fine  stanzas,  written,  as  we  now  know  from  Goethe's  diary, 
on  the  24th  of  June,  1797,  are  in  no  sense  a  part  of  the  drama  of 
Faust,  but  simply  an  '  occasional '  lyric.  The  poet,  now  in  middle  life, 
has  determined  to  resume  work  upon  Faust.  In  '  dedicating '  himself  to 
the  task  he  gives  expression  to  the  feelings  that  come  to  him  as  he  thinks 
of  his  youth  when  the  work  was  begun.  Cf.  Intr.  p.  lix.  The  meter,  a 
regular  eight-line  stanza  with  feminine  rimes  a,  c,  and  masculine  rimes  b, 
combining  according  to  the  system  abababcc,  was  a  favorite  one  with 
Goethe  in  pensive,  elegiac  moods. 

1.  fdjttwnfcnbc  @  eft  alt  en,  'wavering  forms';    Faust,  Mephistopheles, 
Gretchen,  etc.,  conceived  as  air-phantoms.     Goethe  often  alludes  to  his 
poetic  musings  under  the  image  of  communing  with  spirits.    Cf.  his  Tasso, 
1.  562.     In  a  letter  to  Schiller  of   July  i,  1797,  he  speaks  of   the  'air- 
phantoms  of  Faust.1  —  SBiebcr,  '  again,'  with  allusion  to  their  first  ap- 
proach in  the  poet's  youth. 

2.  triibcn,  'dim';  his  early  vision  was  not  yet  clear. 

4.  SBafytt ;   not  exactly  '  illusion,'  nor  '  delusion,'  but  '  fantastic  idea,' 
viz.,  the  early  project  of  dramatizing  the  Faust-legend.     To  the  Goethe  of 
1797  this  project,  as  he  had  long  ago  conceived  it,  appears  quixotic,  based 
on  illusion.     Cf.  Intr.  p.  lix. 

5.  tttfigt  iljr  WOltcn,  'you  may  have  your  way.' 

6.  2Bie  il)r  . . . .  ftetgt.       At  the  noontide  of  his  life  the  poet  has 
reached  a  clear  height,  from  which  the  youthful  Faust  and  its  mental  asso- 
ciations present  themselves  as  a  region  of  '  foggy  mist.'     Cf.  the  letter  to 
Schiller  of  June  22,  1797,  where,  as  here,  2)unfl  llltb  9iebel  is  a  hendiadys 
for  -Jiebelbuitfl.     From  out  this  dim  medium  the  '  forms '  rise  about  him 
and  mutely  insist  upon  a  renewal  of  the  earlier  comradeship.     He  resolves 
to  yield  to  their  importunity. 

(»33) 


234  NOTES. 

8.  umnrittcrt.  The  verb  means  'to  encompass'  in  the  form  of  an 
atmospheric  influence.  The  '  forms '  are  surrounded  by  a  magic  aura,  at 
the  touch  of  which  the  poet  is  thrilled  with  the  old  youthful  agitation. 

10.  Srfjntteit ;  visions  of  youthful  friends  now  dead,  or  otherwise  lost 
to  view. 

12.  crftC  £ie&T  ttnb  j5rcunbfl^aft.     If  we  attempt  to  think  of  any  one 
in  particular,  which  is   not  at  all   necessary,  it   should   probably  be  of 
Friederike  Brion  and  the  friendships  of  1772-1775.     There  had  been  ear- 
lier loves  and  friendships,  but  these  were  the  '  first '  of  the  awakened,  lib- 
erated Goethe,  the  Goethe  of  Faust.     Still,  Schroer  sees  here  an  allusion 
to  the  Frankfurt  Gretchen  of  Werke,  XXVI.,  266  ff.     Cf.  Intr.  p.  Ixxxi.  — 
The  bad  rime  auf  :  berauf  was  probably  deliberate.     Rimes  to  auf  are 
scarce  in  German.     Vischer,  G.-J.,  IV.,  9,  calls  the  apparent  negligence  un» 
tterbefferlid)  fdjon. 

13.  .UlllflCf  'mourner's  plaint.' 

18.  ^tC  Scclcil  ....  fang.  The  friends  from  far  and  near  to  whom, 
in  Frankfurt  and  later  in  Weimar,  Goethe  was  wont  to  read  his  Faust. 
Cf.  Intr.  p.  xxxviii. 

21.  iictb.     The  early  Faust  is  conceived  as  a  record  of  'suffering,'  a 
common  image  with  Goethe  for  his  poetic  « confessions.'     Cf.  Thomas's 
Goethe's  Tasso,  Intr.  p.  xlix  ff.     On  the  reading  Sieb  cf.  Appendix  II.  — 
tutbcfomttcn  SJicngC  ;  the  general  public,  the  '  unknown  multitude,'  who 
have  read  the  printed  Fragment  of  1790,  and  will    read  the  new  scenes 
that  are  to  be  added.     They  may  praise  the  art  of  the  poem,  but  they  will 
not  feel  for  the  '  suffering '  that  underlies  it. 

22.  ntad)t . .  . .  bang,  'makes  my  heart  misgive  me.'     To  an  English 
ear  the  dat.  sounds  unnatural,  but  it  is  the  historically  correct  construction 
—  e8  ift  mir,  tbitt  mir,  ntadjt  tntr  bang,  just  like  e«  tbut  tnir  toobt. 

3<f)  bin  bang,  C8  mac^t  mein  §erj  bang,   are  comparatively  modern. 

23.  \DQ§f  'they  who';  here,  like  the  e8  in  1.  24,  of  persons.     This  is 
a  common  use  of  the  neut.  sing,  pronoun  to  refer  to  '  several  persons  in  a 
general  way '  (Hart).      Cf.  Schiller's   Tell,  I,  3 :    ®a«  fcblenbert  foie  bie 
©djnedten,  'those  fellows  dawdle  like  snails.'  —  fiieb  refers  to  the  early 
Faust,  or  perhaps  to  Goethe's  youthful  singing  generally.     With  erfreitet 
supply  bat,  rather  than  batte,  taking  jonft  in  the  sense  of  '  formerly'  rather 
than  in  that  of  '  else.' 


NOTES.  235 

26.   dfetftemtdj ;   the  '  spirit-realm '  of  departed  friends. 

28.  Hfpelltb  Stcb  ;  of  this  Dedication.     As  the  poet  surrenders  him- 
self to  the  memories  of  his  youth,  the  rush  of  feeling  overcomes  him  and 
the  hitherto  clear  notes  of  his  lyre  die  away  in  '  plaintive  '  (lifpelltb),  '  un- 
certain '  tones  like  those  of  an  /Eolian  harp. 

29.  (Spotter,  'feeling  of  awe.'  —  XJjrfitte  folflt  bc«  Straiten;  metri 
gratia  for  £hrane  folgt  ber  £brane.    So  in  1.  4658  we  find  SBunfdj  um 
SMnjdje,  for  SBimjdj  um  SSimfd), '  wish  after  wish.' 


SSorfpiel  aitf  bem  Sweater. 

The  Prelude  is  a  dialogue  in  which  the  function  of  the  playwright  is 
considered  from  three  different  points  of  view :  that  of  the  Manager,  who 
wishes  to  draw  the  crowd  and  make  money;  that  of  the  Comedian,  who 
wishes  to  provide  amusement  for  the  young;  and  that  of  the  Poet  with  his 
ideal  notions  of  art  for  art's  sake.  The  fiction,  which  makes  no  claim  to 
naturalness,  is  this :  A  company  of  players  have  arrived  in  a  German  city, 
set  up  their  temporary  theater  of  boards,  and  announced  a  play.  But, 
though  the  audience  has  already  gathered,  the  play  has  not  yet  been  com- 
posed; even  its  general  character  is  quite  undetermined.  So  the  Manager 
and  the  '  Merry-Andrew,'  the  actor  who  takes  the  part  of  the  funny  man, 
advise  the  Poet  how  to  go  to  work.  At  the  end  of  the  conference  we  must 
imagine  the  Poet  to  improvise  the  play  of  Faust.  Of  course  the  Poet  is 
Goethe,  but  —  so  is  the  Manager  and  the  Comedian.  As  director  of  the 
Weimar  theater  Goethe  was  quite  familiar  with  the  manager's  point  of 
view,  while  in  his  youth  he  had  written  several  farces  and  satirical  plays 
the  chief  aim  of  which  was  amusement  '  for  the  present.'  The  Prelude  is 
not  meant  to  imply  that  Faust  embodies  only  the  austere  views  of  the 
Poet,  that  he  follows  his  own  bent  and  pays  no  attention  to  the  advice  of 
the  other  two;  the  humorous  point  of  the  whole  is  that  all  three  get  their 
demands  complied  with.  Faust  is  as  full  of  action,  as  motley,  as  spectacu- 
lar, as  free-and-easy  in  its  technique,  as  the  Manager  could  wish ;  it  con- 
tains enough  humor  and  hocus-pocus  to  satisfy  the  Comedian,  while  it  is 


236  NOTES. 

after  all  a  work  of  art,  made  not  for  the  crowd  or  for  the  moment,  but  for 
the  best  and  for  the  ages.  It  has  been  thought  that  the  Prelude  was  sug- 
gested by  the  Hindu  drama  Cakuntala,  a  translation  of  which  by  Forster 
appeared  in  1791  and  greatly  interested  Goethe.  The  Cakuntala  has  a 
prelude  in  which  the  Director  converses  with  an  actress  about  the  play 
that  is  to  be  given. 

The  meter  of  the  Prelude  is  irregular  (yers  irreguliers,  cf.  Bartsch  in 
G.-J.,  I.,  131).  It  consists  of  rimed  iambic  lines  of  four  or  five  feet,  with 
occasional  alexandrines.  The  rimes  are  either  crossed  or  consecutive,  and 
masculine  rimes  alternate  with  feminine.  Consecutive  pairs  of  the  same 
gender  do  not  occur.  Alexandrines  are  lines  55,  104,  117,  119,  126,  129, 
140,  148,  165,  180,  181  and  225.  No  special  significance  attaches  to  their 
use;  that  is,  they  are  not  employed  deliberately  for  any  specific  effect. 

The  Prelude  was  probably  written  in  June- July,  1797. 

35.  ttt  beittfdjett  SanbCtt;  not  to  be  taken  as  implying  that  the  players 
come  from  abroad  (an  interpretation  forbidden  by  the  imferit  of  1.  231), 
but  only  as  indicating  that  Goethe  has  in  mind  the  specific  conditions  of 
Germany.  As  noted  above,  the  fiction  of  the  Prelude  makes  no  pretence 
to  being  natural  or  realizable. 

39.  ^Sfoftett ;  the  '  posts '  supporting  the  stage.  —  2tufgefcf)Iagen, 
'  thrown  up  ';  implying  hasty  or  temporary  construction. 

41.  2tugenfjraUtten.  The  original  and  now  usual  form  is  Stligert* 
brauen,  which  Goethe  also  uses. 

43.    tterfol)ttt,  'conciliates.' 

48.  ttttt  ^ebciltuitg,  'while  having  some  significance,'  'while  not 
trivial.' 

51.  SBetyett,  '  throes.'     The  spasmodic  surgings  of  the  crowd  are  lik- 
ened to  birth-pains.     So  at  least  Sanders  Wb.,  sub  voce  2Bei). 

52.  CHge   ©Itobettyforte ;    in  allusion  to  the  '  strait    (i.   e.   narrow) 
gate,'  arevj)  TIT  AT?,  of  Matt,  vii,  13. 

53.  Dor  SBierett,  'before  four  o'clock.'     The  declined  plu.  SSiere   oc- 
curs only  in  certain  set  phrases,  e.  g.,  mtt  SSieren,  '  with  four  horses  ';   ttllf 
alien  SSierert,  'on  all  fours';   urn  33iere,  ' at  four  o'clock.'    The  plays  at 
Weimar  usually  began  at  six  or  half-past-five  p.  m. 

55.    The  simile  was  suggested,  no  doubt,  by  what  had  lately  been  going 


NOTES.  237 

on  in  Paris.  See  Carlyle's  French  Revolution,  bk.  6,  the  chapter  "In 
Queue." 

59-74.     The  Poet   speaks  at  first  in   the   stanza   of   the  Zueignung. 
With  the  sentiment  expressed  cf.  Goethe's  Tasso,  1.  454 : 
2>ie  Wenge  inadjt  ben  flitnftler  itr'  unb  fdjeu. 

60.    U1t£  ....  etttfttel)t,  '  our  wit  forsakes  us.' 

62.  ©tritbel,  '  vortex '  of  vulgarity. 

63.  ftillen  $immeI3ettge,  'quiet,  celestial  nook'  of  personal  affection 
and  sympathy.     The  thought  is  that  the  best  incentive  to  good  work  is  the 
desire  to  please  the  friends  whom  one  loves.   Cf.  Thomas's  Goethe's  Tasso, 
11.  447-8,  and  the  editor's  note. 

64.  280  twr,    '  where  alone,'  the  nilt  being  metri  gratia  for  aDein. 
The  phrase  tt)0  ttur  commonly  means  'wherever.'     Of  course  mtr  can  not 
be  taken  with  ©idjter. 

66.  (BiJtterhattb.  In  compounds,  ©otter*  is  often  used  without  poly- 
theistic tinge  in  the  sense  of  divine.  —  (JrpflCfJCtt  is  a  rare  verb  quoted  in 
Grimm  Wb.  for  this  passage  only  and  defined  curare.  The  er=  gives  the 
force  '  to  nurse  effectively,'  '  nurse  into  health  and  vigor.' 

68.  fcfjitrfitcnt  BorgcIrtUt,  '  timidly  stammered  out.'    The  poetic  artist 
is  thought  of  as  '  timid '  about  entrusting  the  child  of  his  love  to  the  wild 
waves  of  contemporary  opinion ;    his  work  is  '  stammered  forth  '  because 
he  feels  that  it  is  an  imperfect  utterance  of  his  thought. 

69.  9)iijjrntf)Clt geluttgen,    '  miscarrying  now,  and  now  perhaps 

succeeding,'  according  as  the  poet  is  more  or  less  lucky  in  his  attempt  at 
utterance.     On  the  force  of  the  participles  see  Brandt,  §  295. 

70.  be£  ....  (iJetDflU.     By  the  '  power  of  the  wild  moment '  is  meant 
the  distracting  interests  of  the  time.     These  '  engulf '  the  poem,  i.  e.,  cause 
it  to  be  overlooked  or  ignored  for  a  season. 

71-2.  The  thought  is  that  a  poet's  work  may  be  before  the  world  for 
years  before  it  is  recognized  for  what  it  really  is.  No  reference  to  the  long 
incubation  of  the  subject  in  the  poet's  mind. 

79-  (ScgCttWart,  '  present,'  not  '  presence,'  as  Taylor  has  it.  —  SruUCtt 
Snabcit,  '  lusty  lad.' 

80.  ift  tttuner Wa£,  '  counts  anyway  for  something  also.'  3mmer 

is  here  a  strengthening  particle  used  to  enforce  an  assertion  in  view  of 
opposition.  Cf.  Goethe's  immer  etit  jdjott  @tii(f  2lrbeit,  '  undeniably  a 


238  NOTES. 

handsome  piece  of  work  ';  intmer  eilt  fiubfd)er  S3ltrfd)e,  '  a  pretty  fellow 
certainly.'  @d)0n  ftiaS,  means  'at  least  something,'  i.  e.,  something, 
with  emphasis. 

81-4.  Directed  against  the  words  of  the  Poet  in  11.  59  ff.  The  thought 
is  that  a  poet  who  knows  how  to  please  will  not  feel  bitter  toward  « the 
people.'  On  the  contrary,  he  will  prefer  a  large  public  that  he  may  be 
more  sure  of  producing  a  great  effect. 

83-4.  @r  ttWltfl^t erfcfyiittertt ;  less  briefly  expressed :  (gr  tt>iinfd)t 

ftd)  einen  grofjen  Diet  tnefir  al«  einen  fleitten  $rei8,  urn  feinen  $reis  ge* 
toiffer  JU  erfcfjuttent.  The  argument  is  not  that  among  many  there  will 
be  more  to  feel  the  poet's  power,  but  rather  that  the  small  circle  of  inti- 
mate friends  who  know  the  poet  in  his  daily  walk  are  less  likely  to  be 
thrilled  through  and  through  by  his  work. 

85.  fcratt,  '  accommodating.'  —  SKttftCtljflft,  '  exemplary  '  (from  the 
speaker's  point  of  view). 

90.  2Kon  fommt  Jit  fdjatttt.  Cf.  the  quotation  from  Lessing,  Intr. 
p.  xx. 

93.  4?nbt  •  •  •  •  gCttlonnen,  '  you  have  forthwith  won  in  the  world-at- 
large,'  i.  e.,  you  are  the  idol  of  a  great  public.  So  Goethe  speaks  of  per- 
sons gerjtreut  in  ber  SBreite  ber  2Bdt.  Cf.  Grimm  Wb.  sub  voce  S3reite. 
Taylor's  '  by  sheer  diffuseness'  is  wrong;  that  would  require  blird)  bie 
SBreite. 

99.  gletd)  ttt  (Stflrfcn,  '  right  in  pieces,'  i.  e.,  straightaway,  without 
bothering  about  the  harmony  of  the  '  piece.' 

100.  JHugout,  'stew.' 

102.   cin  ©011563,  '  an  artistic  whole.' 

IO3-  Serpfliicfeit,  '  pick  to  pieces  ';  not  however  in  the  sense  of  '  find 
fault  with.'  Each  spectator  will  pick  out,  without  regard  to  the  poetic 
harmony  of  the  whole,  the  separate  parts  that  suit  him  best. 

104.  fei.  The  subjunctive  of  indirect  question,  not  now  usual  after  a 
present  tense,  is  common  in  Goethe.  Cf.  11.  272,  1543,  2321,  3532. 

106.  ^cr  ....  ^Jfufffyerct,    '  the  botchwork   of  those  nice  fellows.' 
£)te  fcmberett  £>erren  (joubcr  of  course  sarcastic)   are  the  popular  play- 
wrights who  make  sensational  spectacular  dramas  of  the  kind  just  com- 
mended by  the  Manager.    Perhaps  Goethe  may  have  thought  of  Kotzebue. 

107.  sj){urimc,  '  sovereign  rule  '  (Lat.  maxima  regula}. 
112.    feljt ....  tyttt;  i.  e.,  at  the  assembled  audience. 


NOTES.  239 

114.  fi6erttf(tytett  SJlofyle,  'overloaded  table.'  £ifd)  comes  from  Lat. 
discus  and  meant  at  first  '  dish,'  whence  tifdjert  (but  usually  Oltftifdjen), '  to 
serve,  or  set  out  dishes '  for  a  meal,  and  iibertifdjen,  '  to  supply  dishes  in 
excess.'  An  iiberttjdjteS  2Jfabl  is  thus  '  a  feast  over-supplied  with  dishes." 

115-6.  The  play-goer  who  has  just  been  reading  the  papers  is  pre-occu- 
pjied  with  the  news  of  the  day. 

119.  §ttm  SBeftett  gebett,  '  contribute.'     On  this  line  the  commentators 
quote  Ovid's  Ars  Amatoria,  I.,  99 : 

Spectatum  veniunt,  veniunt  spectentur  ut  ipsae, 

which  may  well  have  been  in  Goethe's  mind  in  view  of  his  early  fondness 
for  Ovid. 

120.  fptclcit ....  tttit,  '  join  in  the  play  without  wages.'     Fine  toilets 
in  the  audience,  as  well  as  the  acting  upon  the  stage,  draw  the  crowd  and 
swell  the  profits. 

122.  2Bu3  tttttcfjt  ....  ftol)  ?  '  Why  does  a  full  house  make  you 
glad  ? '  That  is,  do  you  proudly  imagine  that  the  crowd  is  here  out  of 
regard  for  high  art  ? 

131.  ttertnimtt,  'bewilder.' 

132.  At  the  end  of  this  line  the  Poet  makes  a  sign  of  impatience. 
136.    SJJcitf  rf)Cltrcd)t.     The  poet's  '  natural  right,'  as  appears  from  what 

follows,  is  his  right  to  follow  his  artistic  instinct  for  harmony. 

139.  jebe3  (i'lcmcut,  'every  element';  not  of  society,  but  of  nature, 
as  in  1. 1278.  The  poet  is  a  magician. 

140-9.  The  ideal  poet  is  here  conceived  as  one  who  takes  up  into  his 
own  being  the  unharmonious  facts  of  nature  (juriicffdjUttgeit,  'devour,' 
as  in  1.  8665),  and  gives  them  forth  again  in  harmonious  form.  The  whole 
passage  will  appear  clearer  from  a  comparison  of  Tasso,  11.  160  ff. 

©ein  D§r  oemhnmt  ben  (Sinllang  ber  Dlatur; 
2Ba<5  bie  ®ef$i$te  reicfjt,  bag  Seben  flibt, 
©ein  SBufen  nimmt  eS  glei$  unb  toiUifl  cuf : 
S)a§  roett  Qetftitute  fammelt  fein  ®emiit^ 
Unb  fein  ®eftif)l  betebt  ba3  Unbclcbte. 

The  doings  of  nature  are  '  monotonous ';  she  winds  her  endless  thread 
upon  the  spindle,  indifferent  to  the  steady,  unvarying  hum.  Or,  her  work 
is  '  discordant ' ;  the  totality  of  her  creations  make  a  universal  ugly  jangle. 
It  is  the  Poet  who  measures  off  (tbeilt  ab)  this  monotonous  round,  gives 


240  NOTES. 

life  to  that  which  without  him  were  lifeless  (belebettb;  cf.  the  betebt  bag 
Unbelebte  of  Tasso),  and  imparts  to  the  whole  a  rhythmic  movement. 

146.  bie  ftteftenb  tmmcr  glctrfje  SReilje  =  bie  immer  gteidj  fliefcenbe 
SReibe. 

148.  933er  tttft ....  28ctf)C,  '  who  summons  the  isolated  fact  to  the 
general  solemnization  ? '  Nature  becomes  through  the  poet  a  grand,  sol- 
emn symphony,  in  which  each  single,  separate  fact  is  duly  related  to  the 
whole  and  so  made  a  note  in  the  universal  harmony. 

150.  28e*  Ififtt . . . .  UWtljen?  'Who  causes  the  tempest  to  rage  to 
(the  accompaniment  of  human)  passions  ? '  The  poet  leads  us  to  see  our 
own  moods  in  the  aspects  of  nature  —  passion  in  the  storm  and  pensive 
calm  in  the  sunset. 

154.    flatter;  the  laurel  wreath. 

156.  28ct  jtrfjcrt  ....  ©fitter?  '  Who  assures  Olympus  and  shows  gods 
assembled?'  The  climax  culminates  here  in  the  thought  that  we  owe 
heaven  itself  to  the  poet.  Goethe  uses  the  terms  of  Greek  polytheism,  but 
his  thought  is  of  wider  application.  Not  only  has  the  poet  a  noble  office 
in  dealing  with  the  highest  interests  of  this  world,  being  the  interpreter  of 
nature  (11.  146-51),  the  singer  of  love  (11.  152-3),  and  the  herald  of  all 
meritorious  achievement  (11. 154— 5  5),  but  as  seer,  vales,  he  gives  us  a  vision 
of  divine  things  beyond.  —  Sidjcrt  belt  DItymp  is  to  be  taken  in  the  sense 
of  'gives  the  assurance  of  heaven.'  By  the  'uniting'  of  the  gods  is  not 
meant  the  reconciling  of  their  discords,  but  more  simply  the  poetic  revela- 
tion of  them  as  a  divine  assemblage,  or  ©ottctoerein  —  such  a  revelation 
as  Homer  gives  us. 

158-83.  The  speaker  will  have  the  Poet  take  the  evolution  of  an  ordi- 
nary love-affair  as  a  model  in  the  conduct  of  his  '  poetical  business.'  The 
love-affair  begins  accidentally,  proceeds  of  itself,  with  little  need  of  plan- 
ning or  artistic  motivation,  and  consists  of  a  rapid  succession  of  interesting 
situations  that  appeal  to  the  general  sympathy  —  particularly  of  the  young. 

163.    ttJtrb  e3  attgefodjteit,  'it  is  touched  by  adversity.' 

167.  (Steift ....  Ijtncilt;  lit.  'thrust  in  your  hand.'  Changing  the 
figure,  one  might  say :  Just  plunge  into  the  full  current  of  human  life. 

168-69.  The  thought  is:  Every  one  lives  'the  life  of  man,'  but  few 
have  thought  about  it  so  as  to  know  it  objectively  as  it  is.  Hence,  when 
real  life  is  presented  on  the  stage,  it  seems  at  once  familiar  and  novel,  and 


NOTES.  241 

so  is  always  interesting.  —  ^tttcrcff Ottt  here  with  secondary  accent  on  the 
antepenultima.     Fr.  interessant. 

170.    UJCJttjJ ;  apparently  =  ein  ttJettig,  rather  than  mtr  tDCnig. 

1 80.  sJi*od),  'as  yet';  i.  e.,  they  are  not  too  old. 

181.  SdjttMUg,  'soaring  flight'  of  feeling  or  imagination. —  @d)ettt, 
'  illusion.' 

182.  2Bet  fettijj  iff,   'one  who  has  done  with  growing';  in  antithesis 
to  the  following  ein  SBerbenber. 

184-97.  In  these  lines  the  Poet  is  very  evidently  the  middle-aged 
Goethe  recalling  his  own  youth. 

188.    Cf.  bem  triiben  S3Ud  in  1.  2. 

193.  ®ett  2>rong  ....  Xtltg,  'the  bent  for  truth  and  the  fondness 
for  illusion.'  The  contradiction  is  only  apparent.  '  Truth '  is  here  used  in 
the  sense  of  '  fidelity  to  nature,'  while  '  illusion  '  refers  especially  to  the 
counterfeit  presentments  of  '  the  boards  that  signify  the  world.' 

206-13.  The  logic  of  the  passage  is  this:  Though  youth  may  be 
necessary  for  the  soldier,  the  lover,  the  athlete,  the  reveller  (11.  198-205), 
still  (bod))  it  is  not  so  for  the  poet  as  such.  Even  in  riper  years,  when  his 
harp  has  become  an  old  story,  he  can  yet  by  dint  of  resolution  strike  the 
familiar  strings  with  spirit  and  sweetness.  The  flood  of  song  may  no  longer 
well  up  spontaneously  as  in  his  youth  (cf.  11.  186-7),  hut  he  can  still  set 
himself  a  poetic  goal  and  move  toward  it,  though  slowly,  perhaps,  and  with 
much  digression.  Nor  will  the  world  think  less  of  him  for  his  slow,  mean- 
dering pace,  or  ascribe  it  to  the  weakness  of  age ;  since  what  people  call 
the  childishness  of  age  is  only  a  survival  of  real  childhood.  —  The  speaker 
here  ignores  the  fiction  that  the  audience  is  waiting.  There  is  really  no 
time  for  '  sauntering.'  The  lines  may  be  taken  as  a  quiet  pro  domo  of 
Goethe  in  defence  of  his  own  leisurely  gait  in  the  composition  of  Faust. 

209.   nut  bolbettt  ^itf  Ctt,  '  with  winsome  deviation.' 

218.  Stimmiutflr  'mood.'  There  has  really  been  no  talk  of 'mood' 
in  the  Prelude,  but  one  acquainted  with  Goethe  will  understand  the  ques- 
tion here  asked.  He  knew  very  well  what  it  was  to  make  resolution  do 
duty  for  the  favor  of  the  Muses.  What  the  Manager  says  in  11.  218-30  is 
not  mere  Philistinism,  and  not  altogether  satire  upon  those  who  '  expect  a 
poet  to  furnish  verses  to  order'  (Hart).  There  is,  of  course,  a  touch  of 
humorous  brutalite  in  the  idea  of '  commanding  one's  poetry '  as  if  it  were 


242  NOTES. 

a  body  of  soldiers;  but  underneath  the  humor  there  is  a  true  and  serious 
side  to  what  the  Manager  says.  For,  after  all,  a  great  poem  is  a  matter  of 
high  resolve  and  long-continued,  strenuous  toil;  and  the  poet  has  no 
better  right  than  any  other  brain-worker  to  be  the  bond-slave  of  his  mood. 

224.    brant  un»crsuo,U(J|  bruit,  '  go  at  the  brew  without  delay.' 

228.  Bctttt  @l!)0pfe  foffen,  'seize  by  the  forelock.'  Cf.  our  'take 
time  by  the  forelock,'  for  'go  at  a  thing  at  once.' 

229-30.  The  mere  fact  that  one  has  begun  is  a  strong  incentive  to 
continue. 

231-2.  The  thought  is :  There  are  with  us  Germans  no  rigid  dramatic 
standards  to  prevent  one  from  experimenting  ad  libitum. 

234.  <profpecte,  'scenery.' 

235.  boS  groft'  nnb  fleine  $immeMtif)t ;  the  sun  and  moon. 

238.  Sin  Xljier  unb  SSiJgeln;  for  an  £l)ieren  itnb  SBogeln.  The  omis- 
sion of  the  ending  in  the  first  of  two  words  having  the  same  ending  and 
connected  by  itltb  is  a  frequent  license  with  Goethe. 

242.  SBflttt  .^Htltntcl ....  ,§iille.  This  phrase  merely  explains  what 
the  Manager  means  by  '  traversing  the  whole  circle  of  creation.'  He  has 
a  choice  collection  of  stage  properties  for  the  representation  of  scenes 
earthly,  celestial  and  infernal,  and  he  wants  to  have  them  used  for  a  grand 
spectacular  variety-show.  He  does  not  mean  to  prescribe  that  the  action 
shall  begin  in  heaven  and  end  in  hell,  but  only  that  heaven  and  hell  as 
well  as  earth  shall  be  included  in  the  spectacle.  He  has  in  mind  the  scope 
rather  than  the  termini  of  the  action.  —  Many  years  after  the  Prelude  was 
written,  namely,  May  6,  1827,  Goethe  said  to  Eckermann:  "People  come 
and  ask  what  idea  I  have  embodied  in  my  Faust.  As  if  I  knew  myself 
and  could  express  it !  '  From  heaven  through  the  world  to  hell,'  —  that 
might  answer  if  need  were,  only  that  is  not  an  idea,  but  rather  the  course 
of  the  action."  But  here,  too,  the  phrase  ©aitg  bet  §anblling  can  refer 
only  to  the  scope,  not  to  the  goal,  of  the  action;  for  the  First  Part,  which 
alone  existed  in  1827,  does  not  end  in  hell,  nor  does  the  Second  Part  as 
afterwards  completed.  Nor  was  there  ever  any  thought  of  having  it  so 
end.  Hell  is  however  represented  toward  the  end  of  the  Second  Part,  and 
since  the  whole  begins  and  ends  in  heaven,  we  see  that  the  Manager's  pre- 
scription is  exactly  complied  with.  —  Loeper  is  hardly  right  in  thinking 
that  there  is  here  an  allusion  to  the  old  mystery-stage  with  its  (fictitious) 
three  stories  representing  heaven,  earth  and  hell. 


NOTES.  243 


g    tm   §immel. 

This  portion  of  the  drama  was  also  written,  probably,  in  June-July,  1797. 
For  a  brief  discussion  of  the  Prologue  in  its  relation  to  the  general  plan 
of  Faust,  see  Intr.  p.  Ixviii.  Some  of  the  extant  puppet-plays  begin  with  a 
prologue  in  hell,  and  if  this  was  the  case  with  the  one,  or  ones,  which 
Goethe  saw  in  his  youth,  he  may  have  got  from  that  source  the  hint  for  a 
scene  defining  the  relation  of  Faust's  career  to  the  supernatural  world, 
though  his  plan  clearly  called  for  a  prologue  in  heaven  rather  than  in  hell. 
There  is,  however,  no  positive  evidence  that  the  idea  of  the  Prologue  ante- 
dates the  year  1797.  On  resuming  Faust  at  that  time,  Goethe  saw  the 
need  of  foreshadowing  the  general  character  of  his  work  in  its  ethical  and 
theological  aspect.  The  subject  was  a  familiar  one  connected  in  the  mind 
of  the  public  with  certain  definite  traditionary  associations,  but  he  pro- 
posed, while  following  the  tradition  in  many  details,  to  depart  from  it  radi- 
cally in  the  conception  of  Faust's  character  and  final  destiny.  He  had  not 
indicated  this  purpose  in  the  Fragment  of  1790,  nor  would  it  appear  at  all 
clearly  from  the  action  of  the  First  Part.  Hence  the  need  of  a  prologue 
which  should  serve  to  put  the  reader  or  spectator  on  the  right  track  at  the 
outset. 

The  chief  interest  of  the  Prologue,  apart  from  the  matchless  poetry  of 
the  opening  chants,  centers  in  the  mild  Pelagian  theology  that  is  put  into 
the  mouth  of  the  Lord.  Cf.  Intr.  p.  xxxvi.  Faust  is  not  looked  on  as  at 
variance  with  his  Maker;  he  is  no  doomed  sinner  needing  to  be  saved  by 
a  miracle  of  grace,  but  a  being  who  is  passing  through  a  natural  course  of 
development,  like  a  young  tree  for  whose  flowers  and  fruit  the  gardener  is 
willing  to  wait.  In  other  words,  he  is  a  'servant  of  the  Lord';  and  if  his 
service  is  now  somewhat '  confused,'  he  is  going  to  see  more  clearly  soon. 
This,  taken  in  connection  with  what  we  subsequently  learn  of  Faust's 
character,  with  the  compact  in  11.  1692-1706,  and  with  the  saying  of  the 
angels  in  11.  11936-7 : 

,,28er  immer  ftrebenb  fi$  bemiib,t, 
Den  tonnen  TOUT  erlofen," 

can  only  mean  that  all  '  striving,'  i.  e.,  all  idealism  that  looks  beyond  the 
egoistic  pleasure  of  the  moment,  is  at  bottom  'service  of  the  Lord';  ser- 


244  NOTES. 

vice  which  may  be  more  or  less  '  clear '  and  so  may  occasion  less  or  more 
of  error,  but  will  not  fail  of  divine  approval  at  the  last.  To  accord  with 
this  conception,  the  devil  must  be  an  enemy  of  idealism.  Mephistopheles 
is  accordingly  introduced  in  the  Prologue  as  one  of  the  spirits  of  negation, 
a  humorous  '  wag '  whose  divinely  appointed  office  it  is  to  spur  men  to 
activity  for  their  own  good,  and  thus  unwittingly  work  out  the  Lord's  pur- 
poses. His  incentive  is  not  greed  for  the  souls  of  dead  men,  but  the 
pleasure  of  leading  men  '  in  his  way '  while  they  are  alive.  Hence  he  pro- 
fesses not  to  care  for  Faust's  soul  after  death,  though  later,  as  legendary 
devil,  he  does  manifest  an  interest  in  it. 

The  dramatic  setting  of  the  scene  was  suggested  by  the  book  of  Job,  in 
which  we  read  (i.  6),  that '  there  was  a  day  when  the  sons  of  God  came  to 
present  themselves  before  the  Lord,  and  Satan  came  also  among  them.' 
In  the  Hebrew  poem  the  Lord  calls  attention  to  his  '  servant  Job,  an  up- 
right man,'  but  Satan  thinks  that  Job's  uprightness  is  due  to  his  prosperity. 
To  test  the  matter,  Satan  is  given  permission  to  try  to  turn  Job  from  the 
service  of  the  Lord  by  means  of  affliction.  Mephistopheles  is  to  try  the 
same  experiment  upon  Faust  by  means  of  pleasure.  In  both  poems  the 
devil  fails  and  the  word  of  the  Lord  is  verified.  Cf.  the  address  of  J. 
Landsberger,  Das  Buck  Hiob  und  Goethe's  Faust,  Darmstadt,  1882. 

242+.  $>ie  IjiininHfdjen  ^jeerfdjaaren.    The  Eng. '  heavenly  host '  of 

Luke  ii.  13,  cf.  Acts  vii.  42,  translates  the  Gr.  arpanu.  'army.'  —  9WeJ)I)i= 
ft0pl)de£.  The  origin  of  the  name  is  still  a  moot  question.  Its  earliest 
known  occurrence  is  in  the  first  Faust-book  of  1587,  where  it  appears  as 
Mephostophiles.  Of  course,  however,  the  author  of  the  Faust-book  did 
not  invent  the  name,  but  took  it  from  an  earlier  learned  tradition.  Most 
likely  the  word  is  a  Hebrew  compound  worked  over  under  the  influence  at 
Greek  words  in  -Qihriz.  Most  plausible,  perhaps,  is  Seydel's  derivation 
(G.-J.,  V.,  353)  from  Hebrew  mefiz-tofel, '  destroyer-liar,'  or,  perhaps, '  forger 
of  lies '  (G.-J.,  VII.,  310).  That  the  word  was  originally  a  Greek  compound 
pTj-ipavaTo-Qitye  '  no  friend  of  Faust,'  or  ^-0wTO-0iAj?f  '  no  friend  of  light,' 
is  not  probable :  one  who  knew  enough  to  write  such  Greek  would  know 
too  much  to  write  it.  Little  is  to  be  said,  too,  for  the  derivation  proposed 
by  A.  Rudolf  (G.-J.,  I.,  335),  namely,  Hephaistophiles, '  Hephaestus'  friend,' 
'  devil's  friend,'  as  antithesis  to  Theophilus, '  God's  friend.'  For  yet  other 
guesses  see  G.-J.,  III.,  340,  and  IV.,  432;  also  a  learned  Latin  essay  by  A. 


NOTES.  245 

Hagemann:  Mephistophelis  nomen  uncle  ortum,  etc.,  Graudentz,  1872. 
Goethe  discusses  the  word  in  a  letter  to  Zelter  of  Nov.  20,  1829,  giving  i' 
a  '  fantastic  origin  contemporary  with  that  of  the  Faust-legend.'  In  tb 
letter  he  encloses  an  extract  from  Fausfs  Hollens?wang  of  1612,  in  whicL 
are  found  some  scores  of  spirit-names  like  Osphadiel,  Dirachiel,  Kirotiel, 
Mephistophiel.  Unless  these  names  are  also  capable  of  being  explained 
from  the  Hebrew,  it  would  seem  possible  that  Goethe  is  exactly  right  in 
ascribing  to  the  word  a  '  fantastic  origin.'  As  to  the  form  of  the  name,  the 
earlier  Faust-books  and  Pfitzer  followed  the  original,  though  Marlowe 
changed  it  to  Mephostophilis,  with  a  vocative  Mephosto,  and  Shakespeare 
made  it  Mephistophilus.  The  form  Mephistopheles  was  used  in  the  Christ  - 
lich  Meynenden  Faust-book  and  became  then  the  usual  one  with  writers 
of  the  eighteenth  century.  —  $)te  brci  ©rjCttflCl.  Raphael  is  not  men- 
tioned in  the  Bible,  but  appears  in  the  apocrypha  (Tobit  xii.  15)  as  'one 
of  the  seven  holy  angels  which  go  in  and  out  before  the  glory  of  the  Holy 
One.'  Gabriel  is  mentioned  in  Daniel  and  also  in  Luke  i.  19  ('lam 
Gabriel  that  stand  in  the  presence  of  God').  Michael  is  mentioned  in 
Daniel,  Jude  and  Revelations,  and  he  only  is  called  an  '  archangel '  in  the 
Bible  (Jude  9).  In  the  book  of  Enoch  we  hear  of '  four  great  archangels,' 
viz.,  Gabriel,  Michael,  Uriel,  and  Suriel  or  Raphael.  S)ie  bret  treten  Dot 
need  not  be  taken  as  implying  that  there  are  just  three  archangels  in 
heaven,  but  only  that  the  three  most  illustrious  ones,  the  three  who  are  to 
take  part  in  the  scene,  present  themselves  before  the  Lord. 

243.  tOttt,  '  makes  music ';    in  allusion,  probably,   to  the  ancient  Py- 
thagorean doctrine  of  spheral  harmonies  produced  by  the  motion  of  the 
heavenly  bodies.     Somewhat  different  is  the  biblical  conception  of  stars 
singing  for  joy.     Cf .  Job  xxxviii,  7, '  The  morning  stars  sang  together,'  and 
Isaiah  xliv.  23,  '  Sing,  O  ye  heavens.' 

244.  SBrubcrfpljoren;   presumably  the  planets,  rather  than  the  fixed 
stars.     The  syntax  is  as  if  we  had  the  compound  33ruberjpharen=2Bett» 
gefang. 

246.  Tottttcrgttltg,  '  thunder-march.'  The  course  of  the  sun  through 
space  is  conceived  as  swift,  majestic,  and  attended  by  a  roar  like  that  of 
thunder.  Klopstock  describes  God  as  moving, 

SBenn  er  bent  3iele  ftdj  nct^t,  nut  bent  S)onnergang  bet  @ntfd)eibung. 

347.    $1)1  Stnblitf,  '  its  aspect.' 


246  NOTES. 

248.  SBetttt  fetlter  ....  Ittllfl,  '  though  no  one  can  fathom  it.'  By 
'  fathoming  the  sun,'  is  meant  the  comprehension  of  it  as  a  phenomenon; 
tttdg  in  its  original  meaning  of  '  can.' 

255.  Jytiijfcit;  not  the  waves  nor  the  tides,  but  seething  '  floods '  into 
which  the  waves  break  and  recoil  as  they  are  driven  up  against  the  rocks. 

261-2.  Inlbcit  ....  iHtrfltltfl,  '  form  in  their  fury  a  chain  of  deepest 
effect.'  The  seaward  and  landward  winds  produce  far-reaching  conse- 
quences. Fichte  shows  in  one  of  his  lectures  that  if  a  grain  of  sand  on  the 
beach  were  to  lie  a  few  inches  from  where  it  does  lie,  the  whole  antecedent 
history  of  the  world  must  have  been  different.  So  Emerson  calls  all 

Nature 

A  subtle  chain  of  countless  rings. 

263-4.  ftottttttt ....  f Of.  Aside  from  the  exigencies  of  meter  there 
is  a  subtle,  untranslatable  difference  between  eg  flamntt  bent  $fabe  Cor  and 
e8  ftontmt  »or  bent  ^Sfabe.  The  compound  gives  a  finer  poetical  effect. 

265.  £0d).  The  logic  is  this :  Grand  as  are  the  phenomena  of  storm, 
thunder  and  lightning  on  earth,  still  it  is  the  gentle  movement  of  the  day 
that  most  excites  the  reverence  of  the  angels.  SBotett  =  u/ye/lot, '  angels.' 

268.  2>0f  'since.'  Schroer  thinks  it  concessive,  like  the  correspond- 
ing luenit  of  1.  248,  but  that  is  hardly  possible.  S5d  is  not  once  quoted 
in  Grimm  Wb.  in  the  sense  of  ttientt  fiiu1),  though  it  is  common  in  that  of 
toemt,  tt)enn  ttielleidjt.  Strehlke  Wb.  gives  it  the  meaning  of  bo  tt)0.  But 
the  thought  is  rather,  that  since  the  Lord's  nature  is  unfathomable,  the 
contemplation  of  his  works  affords  the  angels  an  ever  fresh  source  of 
strength.  What  one  understands  perfectly  becomes  in  time  an  old  story. 

271.  Itnllft.  Mephisto's  buffoon  humor  expresses  itself  in  the  conceit 
that  the  Lord  is  a  genial  householder  who  appears  now  and  then  in  the 
servants'  quarters  to  inquire  how  things  are  going.  In  fact,  the  Lord  does 
not  '  approach,'  but  only  permits  an  approach.  For  in  view'  of  the  words 
ber  £>itttmel  fdjliefjt,  1.  349+,  we  must  think  of  the  Lord  as  occupying  a 
'  most  holy  place '  which  is  veiled  from  the  celestial  host,  the  veil  being 
however  drawn  aside  to  admit  the  favored  ones  into  the  divine  presence. 

275.  1)01)6  SSortC  tttadjett,  '  make  fine  phrases,'  as  the  archangels  have 
just  been  doing. 

277.  9)fettt  $dtl)0§,  'pathos  from  me';  'pathos'  in  the  sense  of 
serious  feeling  earnestly  expressed. 


NOTES.  247 

280.    fldj,  '  themselves,'  not '  one  another.' 

282.  SBltttberlid),  '  singular.'  Notice  that  1.  282  parodies  11.  250  and 
270.  —  2U£  tt)ie  is  a  frequent  pleonasm  with  Goethe.  Cf.  11.  359,  2129, 
2214,  2294. 

285.  SBcrnUttft,   'reason.'     When  used  in  its  philosophical  sense,  as 
here,  or  expressly  contrasted  with  SSerftanb,  '  understanding,' '  sense,'  $er= 
tllinft  means  the  faculty  by  which  we  apprehend  the  '  connection  of  truths' 
(Wolff,  as  quoted  by  Sanders  Wb.).     In  other  words,  it  is  the  faculty  with 
which  we  grasp  general  and  abstract  ideas.    Thus  SBentUltft  is,  or  was  held 
by  German  philosophers  to  be,  the  attribute  that  distinguishes  man  from 
the  lower  animals,  these  having  at  best  only  SJerjlanb.     (But  when  SSer» 
ttimf  t  is  used  popularly,  or  without  thought  of  SJerftanb,  it  may  be  ascribed 
to  brutes.    Cf.  Schiller's  Tell,  L,  i :  ®ag  £bier  Ijat  aiidj  SSernunft.)  —  In 
nemtt'S,  the  e8  =  baS  fcJjeinbar  himmlijdje  £id)t. 

286.  -JJttr  merely  strengthens  atletn,  giving  the  sense  of  '  to  no  other 
end  than.'     But  the  collocation  is  very  unusual.  —  The  devil's  theory  is 
this :  Man's  '  reason '  does  nothing  for  him  but  give  him  an  absurd  conceit 
of  himself,  which  leads  him  to  plume  himself  on  his  superiority  to  the 
brutes  that  perish.     When,  therefore,  he  does  act  like  the  brutes,  his  con- 
duct is  worse  than  theirs,  because  they  make  no  fine  pretensions.     They 
never  talk  of  truth,  beauty,  righteousness,  immortality,  etc. 

287.  mtt  Scrlaitb  ....  ©ttabett,  '  with  your  Grace's  permission.'     (5tt>. 
is  for  Slier,  historically  a  gen.  plu.     (Slier  ©naben  is  a  stereotyped  form 
constant  for  all  cases. 

288.  Gicafccn,  'grasshoppers,'  not  'cicadae.'      On  the  point  of  the 
comparison,  see  Intr.  p.  Ixxvi. 

290.    glctrf),  '  straightway.'     The  attempt  to  fly  fails  forthwith. 

292.  The  meaning  is:  Not  only  can  man  not  fly  very  high  or  very 
long,  but  when  he  sinks  back  to  earth,  he  is  not  even  content  with  the 
cleaner  media  of  an  animal  existence. 

298.  felbft;  to  be  taken  with  id),  not  with  bie  armen. 

300.  cud).  Ordinarily  the  change  from  bll  to  3hr  is  in  the  direction 
of  greater  respectfulness;  here,  since  the  Lord  is  addressed,  it  has  the  ex- 
actly opposite  effect. 

302.    £ie  ©Sljruttg,  '  the  ferment '  of  his  soul. 


248  NOTES. 

308.  ticrmorrctt,  'confusedly';  like  one  wandering  in  the  dark  or  in 
'  misty  fog.' 

310.     gfitltt,  '  shows  signs  of  life.' 

314.  HtCtltC  Strflfjc;  ace.  of  the  way.  Mephisto's  'way'  is  that  of 
egoistic  pleasure. 

315-6.  The  implication  clearly  is,  that  when  Faust's  life  on  earth  is 
over,  Mephistopheles  is  to  have  no  further  right  to  trouble  him. 

318.  ®fl,  '  there,'  i.  e.,  so  far  as  that  restriction  is  concerned. 

319.  JQttb1  id) . . . .  IicfctJtgCJt,  '  I  have  never  cared  to  concern  myself.' 
For  the  use  of  befangen  as  =  befdffen,  Grimm  Wb.  quotes  only  this 
case  from  Goethe,  but  several  from  Richter.     As  to  Mephisto's  pro- 
fessed indifference  to  dead  men,  cf.  Intr.  p.  Ixxi-ii. 

320.  HebT  id)  Ittit.    Siebeit  with  reflexive  dat.  is  much  used  by  Goethe. 
It  means  '  to  like,'  '  to  have  a  fancy  for.' 

325.     crfoffCtt,  '  get  hold  of.' 

327.  Another  intimation  that  Mephistopheles  is  to  be  baffled.  He 
is  to  '  stand  abashed '  and  '  confess.' 

328-9.  @tn  guter  ....  fiettW^t,  'a  good  man  in  his  vague  striving 
is  quite  conscious  of  the  right  way.'  An  important,  difficult,  and  famous 
passage.  Obviously  etlt  guter  SKetlfdj  can  not  mean  '  a  good  man '  in  the 
ordinary  sense.  Of  course  a  good  man  is  '  conscious  of  the  right  way '  and 
tries  to  follow  it ;  that  is  the  very  nature  of  '  goodness.'  Goethe  uses 
guter  in  about  the  sense  of  tiicfjtiger  or  bodjftrebettber,  meaning  one  who 
is  '  good '  —  for  something;  one  who  has  ideals  and  tries  to  realize  them; 
or,  in  different  words,  one  who  possesses  that  '  good  will '  which  Goethe 
calls  the  '  foundation  in  matters  of  right  conduct.'  (2)d8  §aitptfltnba= 
tnent  be8  ©itttidjen  ijl  ber  gute  SBtQe;  Werke,  H.,  XIX.,  77.)  For  an 
exactly  similar  use  of  the  phrase  cf.  Werke,  H.,  VIII.,  198: 

35enn  roa§  ein  guter  SWenfdj  erreidjen  lann 

3ft  nicfit  tin  engen  SRaum  be§  SeBen§  }u  erreidjen, 

where  it  is  applied  to  an  artist  and  can,  therefore,  have  nothing  to  do  with 
conventional '  goodness.'  —  The  phrase  in  fetnem  bunflen  S)ronge  is  not 
easily  translatable.  Grimm  Wb.,  defines  ®vattg  for  this  passage  as  2lru 
reijung,  itmerer  £rieb,  impetus,  impuhus.  £>un!Ien  means  '  not  fully 
understood,'  hence  '  vague.' — The  point  involved  is,  at  bottom,  the  old 
issue  between  the  Augustinian  and  the  Pelagian  theology :  the  question 


NOTES.  249 

whether  a  man,  if  he  follows  his  natural  bent,  will  surely  and  finally  go 
wrong  or  not ;  whether  he  is  of  himself  a  helpless  wanderer  in  the  dark, 
requiring  to  be  put  upon  the  right  way  by  a  miracle  of  divine  intervention, 
or  whether  he  has  that  in  him  which  will  enable  him  to  find  the  right  way 
and  follow  it.  Goethe  takes  the  Pelagian  view,  but  only  on  the  supposition 
that  the  man  is  eitt  gitter  2J?enfd)  from  the  first.  For  Faust  is  by  no  means 
a  representative  of  humanity,  as  he  is  sometimes  called,  but  only  of  that 
portion  of  it  who  strive,  whose  will  is  good.  —  It  may  be  noted,  finally, 
that  no  formal  confession  of  discomfiture,  like  that  here  foreshadowed,  ever 
comes  from  Mephistopheles.  He  is,  however,  discomfited,  for  Faust's 
idealism  proves  invincible. 

334—5.  The  allusion  is  to  Genesis  iii.  14,  where  God  says  to  the  ser- 
pent, '  dust  shalt  thou  eat  all  the  days  of  thy  life.'  By  '  eating  dust  with 
delight '  the  devil  means  being  satisfied  with  egoistic  pleasure. 

336.  £tt  borfft  ....  erfd)eitten,  '  there  too  thou  mayest  act  thy  part 
quite  unhindered ' ;  dud)  ba,  in  boasting  over  the  Lord  as  well  as  in  trying 
to  lead  Faust  astray;  mir  with  fret  in  the  sense  of  'not  otherwise  than,' 
'  quite.'  Observe  that  erfdjettteit  does  not  mean  « to  appear '  =  videri, 
which  would  call  for  jc^einen,  but  '  to  show  one's  self,'  '  play  one's  part.' 

339.  ©djfllf,  '  wag.'  Mephistopheles  is  given  this  name  as  a  being 
who  acts  in  a  spirit  of  cynical  humor,  —  for  the  fun  of  the  thing,  so  to 
speak.  The  Lord's  work  is  to  him  a  field  for  practical  joking.  Those 
other  unnamed  spirits  which  are  more  troublesome  to  the  Lord  would 
doubtless  be  such  as  carry  on  the  work  of  negation,  opposition  and  de- 
struction in  a  spirit  of  bitter,  malignant  earnest.  That  Mephistopheles  is 
here  a  spirit,  but  later  (1.  1338)  the  spirit  of  negation,  or  (1.  2181)  the 
devil,  need  occasion  no  surprise.  The  devil  is  a  theological  abstraction. 
What  history  gives  us  first  is  many  devils  of  different  national  characters 
and  different  names,  which  names  and  characters  were  then  blended  in  the 
conception  of  the  devil.  Cf.  Intr.  p.  Ixxv.  Thus  Goethe  treats  his  Mephis- 
topheles at  pleasure  either  as  one  in  a  kindred  hierarchy  of  devils,  making 
e.  g.  the  tempter  of  Genesis  his  '  cousin '  (1.  335),  or  as  a  personification  of 
a  part  of  the  negative  principle  of  darkness  that  is  at  war  with  light 
(1.  1335),  or  again  as  the  spirit  of  negation,  the  devil.  The  witch  calls  him 
Junker  Satan  (1.2504).  On  the  Brocken  he  calls  himself  Junker  Voland 
(1.  4023),  while  the  devil  on  the  throne  is  Herr  Urian  (1. 3959).  In 


250  NOTES. 

the  puppet-plays  the  devil  is  sometimes  called  Pluto.     In  the  original 
legend  Mephistopheles  is  an  envoy  of  Lucifer. 

340—3.  The  doctrine  is  that  men  thrive  by  opposition.  Cynical  criti- 
cism and  obstruction  bring  out  our  best  qualities  and  incite  us  to  work  for 
the  realization  of  our  ideals. 

341.   @r  liefit  fid).    Cf.  l.  320,  note. 

343.  2>er  tcigt . . . .  fdjoffen,  'who  stimulates,  exerts  influence  and 
must,  as  devil  (i.e.,  by  virtue  of  his  devilish  nature),  be  doing.'  But  some 
take  the  last  clause  to  mean  'must,  though  devil,  produce';  i.  e.,  though 
his  work  is  destruction,  by  stimulating  man  to  productive  activity,  he  be- 
comes in  spite  of  himself  a  producer. 

344  ($8tterfi)I)ltef  '  sons  of  God,'  as  in  Genesis  vi.  2,  and  Job  i.  6. 
The  reference  is  of  course  to  the  archangels.  Cf.  1.  66,  note. 

345-9.  This  passage  defies  translation  and  resists  close  logical  anal- 
ysis, but  the  general  import  is  this :  Mephistopheles  is  to  go  to  earth  to 
carry  on  his  opposition  to  the  Lord's  purposes,  but  the  angels  are  to 
remain  at  the  center  of  creative  power,  beholding  with  joy  and  love  the 
beautiful  creation  that  is  ever  realizing  itself  about  them,  and  seeing  in 
every  transient  phenomenon  a  manifestation  of  the  eternal  thought  of  God. 
2>fl3  293crbettbef  '  the  evolving  world,'  is  creation  considered  not  as  a  fact, 
but  as  a  living  process,  the  ever  progressing  realization  of  the  divine  plan. 
2Ba3  ttt  frfjttwnfettber  @rfd)Ctnung  fdjttJCllt,  '  what  floats  in  unsteady  phe- 
nomenal manifestation,'  e.  g.,  suns,  planets,  storms,  man's  earthly  life  — 
all  things  that  come  and  go  as  parts  of  the  phenomenal  world.  SBefcfttjJct 
ntit  bdUernbett  ©ebattfeit,  'fix,  i.  e.,  hold  steadfast,  with  enduring 
thoughts.'  But  Strehlke  Wb.  gives  befefUgeit  as  =  ftarfen,  ficfyertt.  All 
that  '  appears '  is  a  manifestation  of  the  Eternal  Thought.  The  angels  are 
invited  to  participate  in  this  thought,  or,  in  Spinozan  phrase,  to  view  the 
world  sub  specie  aternitatis. 

349+.    £>cr  .<ptmmd,  the  'most  holy  place.'     Cf.  1.  270,  note. 

350.   $ett  sJUtcu,  'the  old  man,'  'the  governor.' 


NOTES.  251 


This  scene,  up  to  Wagner's  exit,  belongs  to  the  oldest  stratum  of  Faust. 
On  its  subjective  side  it  is  rooted  in  Goethe's  youthful  disgust  with  aca- 
demic learning  and  in  the  fantastic  feeling  for  '  nature '  to  which  he  had 
been  led  by  his  study  of  the  alchemists  and  mystics,  and  by  the  influence 
of  Herder.  See  Intr.  pp.  xxiii-xxxv.  In  beginning  with  a  soliloquy  of 
Faust,  Goethe  follows  the  puppet-plays  (but  see  above,  the  general  note 
upon  the  Prologue),  which  in  turn  follow  Marlowe.  In  the  puppet-plays, 
Faust's  success  in  conjuring  is  always  dependent  on  a  certain  book  which 
is  brought  him  by  two  or  more  students.  In  Goethe,  Faust  has  the  book 
of  Nostradamus  from  the  first,  and  nothing  is  said  of  its  provenience.  This 
book  is  conceived  as  possessing  occult  properties  such  that  the  mere  con- 
templation of  its  symbols  produces  wonderful  effects  upon  the  beholder's 
mental  state,  while  the  appropriate  '  utterance '  of  one  of  the  symbols 
causes  the  corresponding  spirit  to  appear  in  visible  form. 

In  1885  the  late  Wilhelm  Scherer  published  an  essay  (G.-J.  VI.,  231), 
in  which  he  drew  attention  to,  and  endeavored  to  account  for,  certain 
logical  difficulties  presented  by  11.  354-521.  The  case  is  in  brief  this: 
The  play  begins  with  a  passage  [i],  11.  354-385,  in  which  Faust  describes 
his  trouble  and  states  that  he  has  devoted  himself  to  magic  in  the  hope  of 
relief.  His  tone  toward  the  end  is  one  of  hope  and  confidence,  so  that 
we  naturally  expect  him  to  proceed  at  once  with  his  conjuring.  Instead 
of  that,  however,  he  breaks  out  into  a  poetic  strain  of  repining  over  his 
past  misery,  his  impotence,  and  his  '  unnatural '  surroundings  (passage  [2], 
11.  386-427).  He  gives  us  the  impression  that  he  is  going  to  escape  with 
his  book  into  the  open  air,  since  '  dry  meditation '  in  the  study  is  futile. 
Then,  when  we  are  expecting  him  to  seize  the  book  and  rush  forth,  he 
suddenly  declares  that  there  are  spirits  near  him  and  implores  them  to 
answer  if  they  hear.  Then  follows  a  passage  [3],  11.  430-467,  in  which 
Faust  looks  at  the  symbols  and  describes  their  effect  upon  him.  After  this 
comes  a  passage  [4],  11.  468-521,  in  which  he  evokes  and  converses  with 
the  Earth-Spirit,  whom  he  addresses  as  erflefyter  ©etji,  though  he  has  not 
yet '  implored '  the  Spirit  at  all. 


252  NOTES. 

Scherer  further  showed  that  these  passages  differ  greatly  in  meter  and 
style.  In  [i]  we  have  soulless  metrical  prose.  The  rhythm  is  irregular, 
the  language  popular,  and  the  technique  clumsy,  since  Faust  is  made  to 
tell  himself,  as  in  the  puppet-plays,  what  he  has  been  doing.  On  the  other 
hand,  [2]  is  all  poetry.  The  rhythm  is  regular,  the  style  noble,  and  the 
dramatic  technique  faultless.  As  a  result  of  his  study,  Scherer  was  led  to 
conjecture  that  Goethe  wrote  [  I  ]  having  in  mind  a  Faust  who  has  decided 
to  devote  himself  to  magic,  but  has  not  yet  the  book  needed  for  evoking 
spirits;  that  the  poet's  intention  was  to  introduce  a  scene  which  should 
put  Faust  in  possession  of  ihe  book,  the  opening  of  which  was  then  to  be 
followed  by  the  magic  effects  of  [3] ;  after  which  was  to  come  an  unsuc- 
cessful attempt  to  evoke  the  Earth-Spirit,  and  then  finally  a  renewed  and 
successful  attempt,  with  the  dialogue  as  in  [4].  As  for  [2],  Scherer  sup- 
poses that  to  have  been  written  as  a  substitute  for  [  i  ] ;  i.  e.,  it  was  in- 
tended to  begin  the  play,  and  to  begin  it  on  the  assumption  that  Faust  has 
the  book  but  can  do  nothing  with  it  in  his  study,  and  must  therefore  take 
it  into  the  open  air.  Lastly,  Scherer  supposes  that  Goethe,  after  he  had 
decided  to  retain  the  original  opening,  instead  of  rejecting  [2]  inserted  it 
where  we  find  it  and  bridged  the  awkward  gap  between  [2]  and  [3]  with 
the  words : 

3b,r  fdjroebt,  i6,r  ©eifter,  neben  mir  ; 
Stnttoortet  ntir,  roenn  ib,r  tnicf)  IjBrt ! 

The  argument  of  Scherer  is  ingenious  and  proves  at  any  rate  that  the 
four  passages  did  not  proceed  from  a  continuous  creative  impulse,  but  cor- 
respond, in  part  at  least,  to  different  moods  and  to  different  phases  of  poetic 
feeling  and  of  artistic  power.  It  is  not  proved,  however,  that  the  poet 
ever  changed  or  forgot  his  fundamental  presupposition  with  regard  to  the 
book,  or  the  place  of  the  conjuring,  or  that  he  ever  intended  to  write,  and 
then  failed  to  write,  any  passages  that  are  necessary  to  the  logic  of  the 
action.  We  may  well  suppose  that  in  Goethe's  earliest  musings  on  the 
Faust-theme,  the  locus  of  his  hero's  conjuring  may  have  occasioned  some 
thought,  some  balancing  of  alternatives;  for  in  the  Faust-books  the  con- 
juring takes  place  in  the  woods  at  night,  whereas  in  the  puppet-plays  it 
takes  place  in  Faust's  study.  But  by  the  time  that  he  began  to  write 
Goethe  had  settled  the  question  in  favor  of  the  study.  Nor  did  he  have 
any  occasion  to  explain  dramatically  the  provenience  of  the  book;  for  the 


NOTES.  253 

'two  students'  of  the  puppet-plays  are  at  best  but  a  clumsy  device,  being 
no  less  mysterious  than  the  book  they  bring  to  Faust.  They  come  and 
go;  we  hear  no  more  of  them,  and  never  learn  how  they  themselves  came 
by  the  wonderful  volume.  It  was  just  as  well,  therefore,  simply  to  assume 
that  Faust  has  the  book  from  the  outset. 

On  these  suppositions  the  text  can  be  explained  as  follows :  In  writing 
[l],  Goethe  had  in  mind  a  Faust  who  '  has  devoted '  himself  to  magic  only 
in  the  sense  that  he  has  learned  the  rudiments  of  the  art.  He  has  not  yet 
tried  his  hand  at  conjuring,  but  is  just  about  to  try  it  with  the  book  of 
Nostradamus,  of  which  he  has  high  hopes.  In  accordance  with  this  con- 
ception, Goethe  first  wrote  in  1.  379,  as  we  now  know,  not  tt>iirbe  but 
ttiei'be,  giving  the  sense :  '  I  have  devoted  myself  to  magic  to  see  whether 
many  a  secret  will  not  be  revealed  to  me.'  We  may  now  suppose  an  in- 
terval to  have  elapsed  before  [2]  was  composed.  It  need  not  be  a  long 
interval,  nor  presuppose  a  radically  different  Goethe,  but  only  a  different 
mood.  During  this  time  he  conceives  the  idea  of  laying  a  little  more  stress 
upon  Faust's  previous  studies  of  magic  (studies  carried  on  with  other 
books  than  that  of  Nostradamus),  and  of  representing  the  futility  of  these 
past  studies  as  a  part  of  his  hero's  general  disappointment  and  pain.  This 
idea,  he  sees,  will  permit  him  to  give  utterance  to  certain  feelings  of  his 
own,  respecting  the  folly  of  poring  over  books  under  the  study-lamp  instead 
of  seeking  illumination  directly  from  Nature.  He  had  also,  for  this  feature 
of  his  plan,  good  legendary  grounds.  The  narratives  make  Faust  study 
magic  books  for  some  time  before  trying  his  first  successful  experiment. 
So  the  Schwiegerling  puppet-play  introduces  Faust  as  having  pondered 
upon  magic  for  '  countless  years '  before  the  right  book  comes  into  his 
hands. 

With  this  idea  in  mind  Goethe  composed  passage  [2],  throwing  into  it 
the  pathos  of  his  own  personal  feeling,  and  so  continuing  as  genuine  poetry 
what  he  had  begun  as  prosaic  doggerel.  He  has  in  mind  here  a  Faust 
who  has  spent  long  nights  poring  over  magic  books  (1.  390,  note) ;  who 
has  learned  to  recognize  and  imitate  their  symbols,  and  to  know  what  to 
expect  from  each;  who  has  tried  to  evoke  spirits,  tried  to  evoke  the  Earth- 
Spirit,  but  in  vain,  the  reason  being,  of  course,  that  he  has  not  had  the 
right  book.  In  his  own  mind,  however,  the  magician  has  framed  a  dif- 
ferent theory  to  account  for  his  failure,  viz.,  that  the  symbols  will  not  do 


254  NOTES. 

their  proper  work  amid  the  '  dust  and  mold '  of  the  study,  but  need  to  be 
taken  out  into  the  open  air.  So  he  prepares  to  leave  his  study  in  the  belief 
that  the  symbols  of  Nostradamus  will  prove  as  impotent  there  as  the  others 
have  proved.  Still,  as  magician  he  knows  that  there  are  spirits  near  him, 
and  so,  by  way  of  giving  them  one  final  trial  before  rushing  out  into  the 
night,  he  exclaims : 

Wntroortet  ntir,  roenn  tfjr  tnid)  Ijort ! 

He  then  opens  the  book,  and  this  time,  of  course,  the  symbols  do  their 
work.  What  follows  is  then  all  in  order. 

Subsequently,  in  revising  for  the  Fragment,  Goethe  noticed  that  the 
ItJCrbe  of  1.  379  was  not  quite  in  harmony  with  his  final  conception,  whence 
the  change  to  roiirbe,  giving  the  sense :  '  I  have  been  devoting  myself  to 
magic  (for  some  time)  to  see  whether  many  a  secret  would  not  be  revealed 
to  me.' 

Scherer's  essay  has  provoked  much  discussion  of  which  no  account 
can  be  given  here;  cf.  especially  Schmidt,  Introduction  to  the  3d  edi- 
tion of  the  Gochhausen  Faust ;  Collin,  Goethe's  Faust  *'«  seiner  dltesten 
Gestalt,  and  Niejahr  in  Euphorion,  IV,  273.  All  these  writers  and  more 
that  might  be  named  have  each  his  own  way  of  dealing  with  Scherer's 
difficulties.  This  of  itself  shows  that  the  difficulties  are  real.  The  ex- 
planation offered  above  has  not  escaped  criticism,  but  thus  far  (1898) 
no  other  has  been  proposed  which  seems  to  the  editor  less  open  to  ob- 
jection. Two  things  only  are  clear :  First,  the  passage  did  not  take 
shape  aus  einem  Gusse ;  secondly,  the  evidence  that  has  been  adduced 
to  prove  it  a  patchwork  of  essentially  different  '  plans '  is  altogether 
inadequate. 

354.  .^>ltbc.  Supply  id).  The  omission  of  the  subject  is  colloquial 
and  characteristic  of  the  free-and-easy  Hans  Sachs  style.  In  the  older 
portions  of  Faust  it  is  common  in  the  sing.,  somewhat  less  so  in  the  plu.  — 
s$l)UDf0pI)te,  '  philosophy,'  but  not  in  the  strict  technical  sense.  It  is, 
rather,  a  broad  term  for  the  studies  belonging  to  the  '  philosophical  faculty' 
of  a  university. 

355-  Suriftem;  contemptuous  for  3uri«prubeng. 

356.  Icibcr  flltd).  Faust  is  primarily  a  theologian  (cf.  1.  372-3),  and 
in  making  him  especially  dissatisfied  with  theology,  Goethe  follows  the 
legend.  The  '  science  of  God '  is  the  study  from  which  a  seeker  after  ulti- 


NOTES.  255 

mate  truth  would  naturally  expect  the  most;  whereas  Faust  has  been  led 
by  it  only  to  doubts  that  have  destroyed  his  peace  of  mind.     Cf.  1.  370. 
357-    ^Urdjtttt^;  here  =  blird)  llttb  bltrd),  i.e.,  'thoroughly.' 

360.  SKflgifter, 'Master' of  Arts;   the  second  degree  in  the  sequence 
bachelor,  master,  doctor.     U.  has  here :  §eijje  ®ocftor  llttb  ^Srofeffor  gar. 
The  reason  for  the  change  is  not  quite  obvious,  since  Faust  is  very  certainly 
to  be  thought  of  as  a  professor.     Was  it  because  C.  M.  states  expressly  that 
Faust  received  the  degree  of  '  Master '  at  Ingolstadt,  or  because  the  magi- 
cian was  popularly  known  as  '  Doctor '  Faust  ? 

361.  fd)0tt.     As  to  Faust's  age,  cf.  Intr.  p.  xlvii.  —  2Jn  is  unaccented, 
i.  e.,  does  not  go  with  Jtebe,  but  with  bie  gebeit  3ab,r,  to  denote  approxima- 
tion; 'well-nigh  these  ten  years.'  —  The  older  jeljCtt,    M.  H.  G.  zehen  > 
zen,  is  often  used  by  Goethe  in  his  youth,  even  where  no  metrical  consid- 
erations require  it,  e.  g.,  Briefe,  I.,  133,  187.  —  ^Saljt  \  plu-  with  -e  omitted, 
as  it  was  very  often  omitted,  in  all  sorts  of  words,  in  the  South-German 
dialect  of  the  youthful  Goethe. 

365.  $o3 ticrbrcnttCtt,  'that  (insight)  is  just  about  consuming 

my  heart  as  with  fire.'     On  nutt,  cf.  Brandt,  §  267,  6.  —  @d)ter  =  '  all  but,' 
'just  about';   not  the  Eng.  'sheer,'  nor  the  fdjierof  Luther's  Bible,  mean- 
ing '  soon.' 

366.  JJaffeit,  '  ninnies ';   used  collectively  of  the  classes  mentioned  in 
1.  367. 

367.  Sd)reU)Cr,  '  scribes,'  or  '  notaries,'  learned  in  the  law;  not  '  ec- 
clesiastics,' nor  '  students  of  theology.' 

370.  2>dfurr  '  as  an  offset  to  that,'  '  on  the  other  hand.'     The  thought 
is  that  Faust  has  won  liberty  at  the  expense  of  peace.     This  sense  of  bafiir 
is  not  noted  in  Grimm  or  Strehlke,  but  is  common  in  Goethe's  early  writ- 
ings.    Cf.,  e.  g.,  Briefe,  I.,  181  (letter  to  Oeser)  :  £>ie  (Eabiltette  bier  ftttb 
groar  ftein,  bafiir  ftnb  fte  battftg  unb  aiiSgefudjt.    Cf.  also  1.  2988. 

371.  toa8  sJied)t3,  '  anything  worth  while.'     Cf.  11.  1879  and  4125. 
374-5.     This  vulgar  motive  for  Faust's  study  of  magic  does  not  appear 

in  the  oldest  Faust-book,  but  is  as  old  as  Widman,  who  says  (Cap.  13, 
Scheible,  II.,  359) :  2>iett)eU  er  Weber  getbt,  fofl  nod)  fpeijj  unb  anbreS 
b,abe,  fo  bab  er  aud)  ftd)  fiirneljmUd)  bent  Seitfel  ergeben. 

377.   $flbT  •  •  •  •  ergcbett.     On  the  import  of  the  tense,  see  the  intro- 
ductory note  above. 


256  NOTES. 

378.  ©cifitC§ 9)htttb;  seemingly  a  hendiadys  for  burd)  ben  fraftU 

gen  2ttunb  etneS  ©etfteS,  '  through  some  mighty  spirit-voice.'  The  omis- 
sion of  the  article  is  peculiar  but  not  unique  in  Faust.  Cf.  SBerge8ljoh(e, 
1.  394,  and  ©rabe§  liftadjt,  1.  747. 

379-    toiirbe.     U.  has  luerbe.     See  introductory  note  above. 

380-1.  Not  that  Faust  now  thinks  to  give  up  teaching  if  he  succeeds 
as  magician.  He  wishes  to  teach  with  better  insight. 

382-4.  Faust  wishes  to  comprehend  the  central  power  that  sustains 
the  order  of  nature,  to  gaze  upon  the  formative  energy  that  pervades  the 
world,  and  to  behold  the  primordial  substances  (@amen)  out  of  which  all 
things  have  grown.  Take  @anten  as  a  plu.  with  atte  repeated.  The  word 
is  common  in  Welling  (see  Intr.  p.  xxvii).  Believing  the  various  forms  of 
existence  to  be  more  or  less  interconvertible,  the  alchemists  reached  the 
conception  of  certain  fundamental  substances  which  are  the  basis  of  all 
things  that  are.  These  they  called  '  seeds.' 

385.  tljlt' f mitten,   '  do  business.'     The  use  of  thlin  as  a  peri- 
phrastic auxiliary,  like  Eng. '  do,'  is  a  South-German  provincialism  which 
is  frequent  in  Faust;  cf.  11.  2145,  2781,  2869  etc.;   also  Brandt,  §  274,  6. 

386.  9)J0Jtbeufd)Ctn;   now  usually  SJionbjdjetn  or  SDZonbeSfdjetn,  but 
the  old  weak  decl.,  especially  in  composition,  is  common  in  the  classics. 

389.  IjcrrtHijCUJllrfjt;    an  intransitive  used  transitively.     Sanders  Wb. 
gives  the  meaning  as  fo  lange  tt>ad)en,  bis  ba§  Dbjeft  erfdjeint.    But  does 
it  not  rather  mean  'to  watch  mounting'  the  sky?     Cf.  fteigt  heran  in  1. 
3851-2,  and  fteigt  fyeriiber  in  1.  3235-6. 

390.  SJitdjmt.     U.  and  Fgm.  have  S3ud)er.     The  change  was  made, 
seemingly,  to  bring  out  more  clearly  the  thought  intended,  viz. :  '  Thy 
beams  have  found  me  sitting  here  over  my  (magic)  books  and  papers." 
Kogel,  V.  L.,  I.,  55,  thinks  the  books  and  papers  on  the  shelves  are  meant, 
and  that  the  ace.  is  requiredf    But  in  that  case  one  can  not  realize  the 
picture.     The  books  and  paper  are  not  those  of  11.  402,  405,  but  the  tools 
with  which  Faust  has  been  engaged  in  a  futile  study  of  magic  (the  '  paper ' 
for  drawing) .     Cf.  the  '  night -brooding  magus '  letter  of  Goethe,  JBriefe,  I., 
200,  in  which  he  speaks  of  himself  as  etngefperrt,  allein,  Gurcfel,  papier, 
geber  unb  2)inte,  unb  gttei  23iid)er,  mcin  ganjes  9tiift$eug. 

394.  $Bcrgc3!)pl)le.  The  omission  of  the  article  is  harsh.  Cf.  1.  378, 
note. 


NOTES.  257 

396,    2Btffett3<JUaIm,  '  choke-damp  of  learning.' 

397-    flCfttltb  ....  tabett,  '  bathe  to  health ';   factitive  predicate. 

402.    SScfdltOttft  turn,  '  bounded  by';   pple.  with  2ftaiierlodj. 

403-  SBiirmc;  the  regular  M.  H.  G.  plu.,  familiar  to  Goethe  from  Lu- 
ther's Bible.  But  he  also  uses  the  modern  SBiirmer.  Cf.  1.  605. 

405.  (Silt ....  Itmftcrft ;  a  curious  expression  that  has  been  variously 
understood.  Probably  it  refers  to  the  strips  of  paper  placed  upon  the 
shelves  and  hanging  down  over  the  books  to  prevent  the  dust  from 
settling  upon  them.  Cf.  Euphorion,  III,  476.  U.  has :  2JHt  Cingeraudjt 
Rapier  beftedEt,  which  was  rejected  on  account  of  the  undeclined  dat. 
angercmdjt. 

408.  breilt  geftopft;  ace.  abs.  with  §ail8ratb.  The  three  preceding 
pples.,  on  the  other  hand,  go  with  SJlauerlodf). 

411.    ©id)  bang Hcmmt,  '  falters  oppressed  '  (Taylor). 

415.  2)0  Wott .  .  . .  IjtltCtU,  'whereinto  God  created  men';  colloquial 
for  in  tt?etd)e  ©ott  bie  2ftcnfd)en  binetnfdjuf  (Hart).  For  a  similar '  whither' 
construction  after  a  '  where '  verb,  cf.  1.  943. 

420.  yioftrabiunuo;  the  Latin  name  of  Michel  de  Notredame,  a  noted 
French  astrologer  and  physician,  born  in  1503.  His  most  famous  work 
was  a  collection  of  rimed  prophecies  published  in  1555  under  the  title  of 
Centuries.  He  wrote  no  book  of  the  kind  here  ascribed  to  him.  Goethe 
uses  his  name  as  that  of  a  representative  astrologist  contemporary  with 
Faust,  who  might  thus  have  a  manuscript  of  his.  See  note,  to  1.  993  ff. 

422.  ©rfcntteft;  erfennen  here  =  einfefien,  begreifen. 

424.    getyt  ttttf,  '  is  revealed.' 

426-9.    On  the  logical  connection,  cf.  the  introductory  note  above. 

429+.  3etd)Ctt  be3  2)fafrofo3ntu3.  Macrocosm,  from  post-classical 
Gr.  (uiKpoKocfio^,  '  great  world,'  (lit.  '  long  world ') ,  was  a  name  given  by 
medieval  astrologers  and  philosophers  to  the  universe-at-large,  conceived 
as  an  ordered  whole  consisting  of  variously  interrelated  parts.  The  Gk.- 
Lat.  cosmus  is  opposed  to  chaos  and  means  •  order,'  whence  macrocosmus 
=  '  great  order,'  or  '  great  harmony.'  By  the  '  sign  '  of  the  macrocosm  we 
are  to  understand  a  geometrical  figure  possessing  the  magic  power  to  give 
Faust  a  beatific  vision  of  the  '  grand  harmony."  It  is  not  likely  that  Goethe 
was  thinking  of  any  particular  figure,  but  pictures  more  or  less  like  what 
he  had  in  mind  are  found  in  Welling,  pp.  9,  97,  171  etc.  Cf.  Intr.  p.  xxviii. 


258  NOTES. 

431.  ©tttltCtt;  old  weak  plu.  of  @tmt,  as  in  11.479,  1436,  1633;  the 
usual  strong  plu.  ©itttte,  in  1.  6ll. 

437.    Xrieb;  here  in  about  the  sense  of  'potency,' 

440.    ^itflClt,  '  lines';   the  traces  of  Nostradamus's  pen  in  the  pictures. 

443-6.  The  quotation  has  not  been  identified  beyond  a  doubt.  Very 
likely  it  is  only  the  thought  that  is  quoted,  the  language  being  Goethe's 
own.  The  thought  is,  that  no  impassable  barrier  separates  the  spirit-world 
from  the  spirit  of  man.  There  is  a  revelation,  and  if  we  do  not  perceive  it, 
it  is  because  of  the  inertness  of  our  faculties.  Scherer,  Goethe's  Friih- 
zeit,  p.  7 1  ff .,  argues  that  the  '  wise  man  '  is  Herder.  In  Herder's  Alte- 
ste  Urkunde  des  Menschengeschlechts  we  find  a  chapter  headed  '  Unter- 
richt  unter  der  Morgenrothe.'  Herder  here  describes  in  rhapsodical 
language  the  effect  of  the  dawn  upon  primitive  races,  especially  the  He- 
brews. They  saw  in  the  dawn  a  direct  and  glorious  revelation  of  divin- 
ity, and  this  revelation,  he  contends,  we  may  still  see  and  feel,  if  we 
will.  One  passage  reads :  '  Come  forth,  young  man  (cf.  @d)iiler  in  1. 
445),  into  the  open  fields  and  give  heed.  The  most  ancient,  most  glori- 
ous revelation  of  God  appears  to  thee  every  morning  as  a  fact.'  More 
recently,  however,  the  '  wise  man '  has  been  confidently  identified  with 
Swedenborg,  whose  jargon  of  the  spirit-world  and  of  man's  relation  to 
it  is  in  places  very  similar  to  that  here  employed.  Cf.  E.  Schmidt's 
Introduction  to  the  Gochhausen  Faust,  p.  xxxviii,  where  interesting 
quotations  are  given. 

445.  ttlttierbroffett,  '  undismayed,'  i.e.,  undisturbed  by  any  doubts 
or  misgivings  as  to  the  reality  of  the  revelation. 

447-53.  On  Faust's  mystical  vision  of  the  macrocosm,  cf.  Intr. 
p.  xxviii ;  also  Scherer,  Goethe's  Friihzeit,  p.  73  ff.  and  Collin,  p.  36  ff. 
Faust  sees  the  world  as  a  manifestation  of  energy,  unity,  spirituality, 
and  harmony.  The  parts  of  the  macrocosm  weave  themselves  into  a 
whole.  Nothing  is  isolated :  one  component  lives  and  works  in  every 
other.  This  All  is  animated  by  '  celestial  powers  that  ascend  and  descend, 
handing  to  one  another  the  golden  vessels.'  These  powers  are  conceived 
as  angels  with  '  wings  that  exhale  blessings ' ;  at  the  same  time,  however, 
they  are  impersonal  essences  for  they  permeate  the  earth  and  fill  it  with 
an  all-pervading  music.  The  passage  must  not  be  taken  too  seriously,  or  its 


NOTES.  259 

imagery  scrutinized  too  closely,  in  the  hope  of  getting  out  of  it  a  clear, 
coherent  mental  picture.  Still  less  should  we,  as  do  some  of  the  commen- 
tators, think  to  find  in  this  mystical  jargon  an  adumbration  of  Goethe's 
maturer  views  respecting  the  evolution  and  interconnection  of  organic 
forms.  It  has,  however,  some  striking  resemblances  to  a  jocose  cosmogony 
found  in  Goethe's  farce  Satyros,  act  iv.  The  passage  is  as  follows : 

9Bie  fid)  §a{j  unb  Sieb'  gebar, 
llnb  ba§  2in  nun  ein  ®anje§  roar, 
Unb  ba§  @anje  Hang 
3n  lebenb  tetrfenbem  Gbengefang; 
Sid)  tljate  flraft  in  flraft  oerjeb.ren, 
©id)  tfiate  £raft  in  ftraft  oermeljren, 
Unb  auf  unb  ab  ftd)  roUenb  ging, 
3)a3  att  unb  ein'  unb  eroig  S5ing, 
Smnter  oeranbert,  immer  beftSnbig. 

450.  (Sinter.  The  provenience  of  the  conception  has  not  been  clearly 
made  out.  Diintzer  is  reminded  of  the  Manichaean  doctrine  that  angels 
transport  the  souls  of  the  dead  in  golden  vessels.  More  likely  Goethe  had 
in  mind  some,  as  yet  unidentified,  picture. 

454  fT.  The  change  of  tone  and  meter,  and  the  abrupt  transition  to  a 
totally  different  order  of  thought  and  feeling,  suggest  that  this  passage  was 
not  composed  continuously  with  the  preceding,  but  corresponds  to  a  dif- 
ferent phase  of  the  young  Goethe's  nature-sentiment.  Cf.  Scherer,  Goethe's 
Fruhzeit,  p.  74.  Faust,  who  has  just  been  likening  himself  to  a  god,  turns 
impatiently  from  the  object  of  his  enthusiasm,  because  it  is  '  only  a  spec- 
tacle,' whereas  he  desires  food  for  his  soul,  nourishment  from  the  breasts  of 
mother  Nature.  The  biblical  imagery  of  11.  455-9,  suggestive  of  supreme 
spiritual  happiness  (cf.  Isaiah  Ixvi,  11-12),  corresponds  to  the  rapturous 
feeling  for  nature  which  meets  us  in  Werther.  Cf.  the  letters  of  May  10 
and  May  17,  1771,  in  which  Werther  speaks  of  all  baS  ttwnberbare  ©e» 
fiibf,  tnit  bent  mem  §erj  bie  -Katur  umfafjt. 

458.    ttette  Stttft,  '  pining  breast.' 

459-   if)*  ttttttft,  'ye  give  to  drink,'  i.  e.,  ye  have  nourishment  to  offer. 

459+.  @rbgciftC§.  The  Earth-Spirit  is  an  invention  of  Goethe  which 
owes  nothing  discoverable  to  any  particular  myth,  still  less  to  any  man. 
On  the  genesis-  of  the  conception,  cf.  Intr.  pp.  xxviii,  xxix  and  xxxv.  The 
Spirit  takes  the  place  of  the  '  prince  of  hell '  in  C.  M.,  but  is  not  for  that 


260  NOTES. 

reason  a  devil.  He  is  rather  the  personification  of  terrestrial  nature  on  the 
side  of  that  awfulness  and  sublimity  which  seem  to  tell  of  a  being  that  is 
too  great  to  sympathize  with  man  or  be  comprehended  by  him,  but  is 
nevertheless  the  giver  of  all  things  that  come  to  him.  Cf.  Intr.  pp.  xli  and 
xlv.  In  truth,  this  being  is  neither  cruel  nor  benignant,  but  only  seems 
the  one  or  the  other,  according  to  the  mood  of  the  man,  or  the  degree  of 
his  culture.  Faust  longs  for  a  sympathetic  mother,  but  the  spirit  that 
comes  at  his  call  is  the  one  of  whom  Tennyson  sings : 

Thou  makest  thine  appeal  to  me. 
I  bring  to  life,  I  bring  to  death. 

Later,  in  3217  ff.,  the  same  Spirit  is  invoked  by  Faust  as  the  beneficent 
giver  of  all  good  gifts.  In  Par.  p.  3,  Goethe  characterizes  the  Spirit  as 
2Bdt=  unb  2;hatengeniit«. 

461.  uiif)cr.  Faust  feels  himself  nearer  to  the  earth  than  to  the  cosmos, 
to  the  (Srbengott  than  to  the  SBeltgott.  Cf.  Intr.  p.  xxviii. 

463.    JlCUCm;  equivalent  to  frifdjem. 

464-7.  The  magic  effect  of  the  symbol  of  Nature's  energy  is  a  sudden 
acces  of  energy,  of  the  will  to  do  and  dare,  on  the  part  of  Faust. 

468-74.  These  lines  are  rhythmic  prose  with  no  trace  of  meter,  save 
that  11.  468  and  469  would  go  together  as  an  alexandrine.  There  are  sev- 
eral such  passages  imbedded  in  the  verse  of  Faust  (11.  514-7,  3183-94, 
3437-58),  all  of  them  expressive  of  intense  excitement.  Scherer,  Goethe's 
Fruhzeit,  p.  76  ff.,  regarded  them  as  remnants  left  standing  from  an  orig- 
inal prose  version;  but  U.  gives  no  hint  that  its  verse  is  translated  prose. 
It  is  more  likely  that  the  verse  which  appears  in  U.  was  verse  from  the 
beginning,  and  that  the  prose  passages  were  due  to  a  feeling,  more  or  less 
conscious,  that  prose  was  better  adapted  than  rime  to  the  expression  of  ex- 
treme emotion.  This  idea  was  a  part  of  the  Klopstockian  revolt  against 
rime.  It  may  be  added  that  the  quasi-metrical  form  of  the  prose  passages 
in  Faust  corresponds  to  that  of  the  contemporary  Wanderer  and  Prome- 
theus. 

473-  <Sd)fltter,  'horror.'  Faust  experiences  a  sudden  dread  which 
seems  to  him  to  descend,  like  an  invisible  spirit,  from  the  vaulted  ceiling 
and  lay  hold  of  him. 

475-    erfleljter  ©Cift.     The  language  implies  that  Faust  kpows  about 


NOTES.  261 

the  Spirit  and  has  '  implored '  him  before.  See  above,  the  introductory 
note,  and  also  G.-J.,  VI.,  257. 

477-    WieT3  ....  retftt,  '  what  a  rending  there  is.' 

479-  fid)  crnritf)len,  'burst  forth.'  The  verb  means  to  '  burst  open '  as 
the  result  (er=)  of  an  inner  commotion  (ttwblen.)  Cf.  the  lines  from 
Goethe's  ballad  Der  untreue  Knabe ; 

llnb  wie  er  tappt  unb  rote  er  ful)lt, 
©ic§  unter  i§m  bie  <£rb'  ernwfylt. 

481+.  After  ^lamme  U.  has  the  phrase  in  nrieberlidjer  ©eflaflt,  'in 
repellent  form,'  though  Erich  Schmidt  (U.  p.  xxv)  thinks  ttrieberltd)  may 
have  been  used  in  the  sense  of  jdjrecf Urf),  '  terrible.'  But  the  sense  '  repel- 
lent '  is  quite  in  harmony  with  Goethe's  original  conception.  Later,  when 
the  Spirit  had  taken  on  the  character  of  the  beneficent  giver  of  all  things 
(11.  3217  ff.),  he  erased  the  phrase,  which  he  could  do  with  good  reason, 
since  a  spirit  appearing  '  in  the  flame  '  must  needs  be  '  repellent.'  —  The 
'  flame '  is  found  in  all  the  Faust -books,  where  it  pertains  naturally  to  the 
devil.  For  the  stage,  Goethe  directed  that  the  Earth-Spirit  should  be  '  a 
gigantic  face  emerging  from  behind  cloud  and  filling  the  entire  back- 
ground.' 

482.    Q5eftd)t,  '  sight,'  '  apparition,'  rather  than  '  face.' 

484.  long;  in  allusion  to  preceding  attempts,  which  are  left  to  the 
imagination,  to  get  into  communication  with  the  Spirit.  —  05cf ogcn,  '  tried 
to  draw  nourishment.' 

486.    erotfjmcnb,  '  panting.' 

490.  ilfjcrmcnfdjcn,  'superhuman  being';  in  sarcastic  allusion  to 
Faust's  presumption.  —  £er  ©CCle  SJttf,  '  thy  soul's  summons.'  The 
sense  is  :  What  has  become  of  thy  grand  courage  ? 

495.  fid)  brttng;    common  in  Goethe   for  the   now   more   usual  fid) 
brcingte.     Cf.  1.  2722  and  '  Dismal  Day,'  1.  30. 

496.  untttJtttert.     Cf.  1.  8,  note. 

498.  etn  ....  SBufttt,  '  a  worm  that  wriggles  away  in  fear.'  2Begge» 
friimmter  is  reflexive,  in  the  sense  of  ber  ftd)  roeggefriimmt  bat;  in  allu- 
sion t<f  Faust's  cowering  posture. 

501-9.  The  conception  is  not  of  a  spirit  moving  up  and  down,  in  the 
form  in  which  he  appears  to  Faust,  amid  the  '  floods  of  life  and  the  storm 
of  deeds,'  but  the  Spirit  is  the  floods  and  the  storm.  The  rise  and  fall  of 


262  NOTES. 

the  waters  (ailf  Uttb  ab),  the  driving  hither  and  thither  of  the  storm  (l)in 
Itnb  b,er),  are  manifestations  of  his  activity.  That  is,  the  in  and  int  of  1. 
501  mean  'in  the  form  of,'  'under  the  aspect  of,'  and  the  nouns  ©eblirt, 
©tab  etc.  are  in  apposition  with  i(f). 

509.  $leib.  The 'garment'  of  the  Deity  consists  of  the  visible  forms 
of  nature. 

512.  ©etft.  One  would  expect  a  more  definite  promise  to  send  Me- 
phistopheles.  Cf.  11.  3241  ff.  and  the  scene  'Dismal  Day,'  11.  33-6.  It  is 
pretty  clear  that  when  he  wrote  these  lines  Goethe  did  not  intend  that  this 
interview  should  be  the  end  of  all  relation  between  Faust  and  the  Earth- 
Spirit.  There  was  to  have  been,  in  some  way,  a  renewal  of  intercourse,  if 
not  a  reappearance  of  the  Spirit  as  dramatis  persona.  As  it  is,  we  have 
to  imagine  such  a  renewal  in  order  to  understand  the  scene  '  Dismal  Day ' 
and  the  soliloquy  in  '  Forest  and  Cavern.'  The  seemingly  final  rebuff' 
however,  was  necessary  to  the  early  Faust-plan  as  rendering  Faust  des- 
perate and  so  preparing  him  for  an  alliance  with  the  spirit  of  lower  order. 
The  rebuff  also  fitted  in  well  with  the  revised  plan  of  1797.  See  Intr. 
p.  hoc. 

518.  J^ainutltS;  a  professor's  assistant;   in  earlier  days,  a  student  who 
lived  in  his  teacher's  house  and  performed  various  duties,  more  or  less 
menial,  in  return  for  free  tuition. 

519.  Instead  of  this  incongruous  line,  U.  has  the  perfectly  natural 

9lun  roerb  i$  ttefer  tief  }u  ni<$te. 

Rational  grounds  for  the  change  are  hard  to  discover.  It  seems  most  likely 
that  Goethe,  in  revising,  wished  to  get  rid  of  the  expression  tiefer  tief  and 
rewrote  the  line  without  thinking  of  the  immediate  connection.  He  meant 
to  say,  that  is,  that  any  intercourse  with  spirits  was  bliss  as  compared  to  a 
dialogue  with  the  commonplace  Wagner,  but  he  forgot  that  Faust  has  just 
'  sunk  down '  in  mortal  despair  and  ought  not,  in  the  next  breath,  to  be 
speaking  of  the  results  of  his  conjuring  as  his  '  fairest  happiness.' 

520.  JvitUc.     The  ' plenitude '  must  refer  to  the  'celestial  powers'  of 
1.  449  and  the  Earth-Spirit. 

521.  $er  trorfnc  ©djleidjer,  'the  humdrum  poke.'    U.  ha*  2)er 

trofne  @d)ft>armer,  which  is  fatal  to  the  common  conception  of  Wagner 
as  a  soulless  pedant.  Cf.  Intr.  p.  Ixxix.  The  change  was  made,  probably, 
to  avoid  the  strange  collocation  'humdrum  enthusiast.' 


NOTES.  263 

522.  bcclnmiren.  Wagner  has  heard  the  sonorous,  measured  speech, 
or  chant,  of  the  Earth-Spirit. 

525.  bo3;  i.  e.,  ba§  gitte  Seclamiren. 

528.  The  preacher  is  a  comedian  if  he  mouths  over  words  without 
having  his  heart  in  what  he  says. 

530.  ittufcum:  =  ©tubirjunmer.     At  an  earlier  date  the  word  was 
common  in  this  sense,  but  it  is  now  archaic  or  humorous,  as  is  the  term 
SUhlfenjobn,  applied  to  a  student.     The  abode  of  a  SKufenjobn  is  naturally 
a  2Jlufeum,  or  '  home  of  the  muses.' 

531.  J'Ctcrtag.    The  ace.  of  time  is  here  not  quite  natural;   cf.  Brandt, 
§  208,  and  208,  I.     The  gen.  was  forbidden  by  the  rime. 

532.  Don  njctten,  '  from  afar ';  roeitert  being  the  old  dat.  plu.,  M.  H.  G. 
witen. 

534-5.  The  thought  is:  If  you  do  not  feel  what  you  are  saying,  you 
will  not  gain  your  object  by  chasing  after  fine  phrases.  The  '  its '  are  em- 
ployed somewhat  vaguely.  3&r  tnerbet'8  nicfyt  erjagen  should  be  taken  as 
apodosis  to  both  the  clauses  with  toentt. 

536.  iirf  rcifttgem  Schagen,  '  the  spell  of  native  vigor.' 
538-41.  The  speaker  who  is  not  in  earnest,  who  has  nothing  of  his 
own  to  say,  but  depends  upon  art  and  borrowing,  is  held  up  to  contempt 
under  three  distinct  images :  that  of  one  pasting  together  scraps  of  quota- 
tion, that  of  a  cook  preparing  a  stew  from  the  remnants  of  a  banquet,  and 
that  of  a  person  trying  to  blow  a  flame  out  of  a  heap  of  ashes.  The  point 
of  the  last  metaphor  is  that,  the  speaker's  heart  being  cold  and  having  in 
it  no  fuel,  he  tries  to  produce  the  semblance  of  flame  by  '  blowing.' 

542.  ISBettmnbrung;  in  loose  apposition  to  what  precedes. 

543.  buritdd) fteljt,  '  inclines  that  way.' 

546.    21Uein,  '  but,'  rather  than  '  alone.'     See,  however,  G.-J.,  V.,  388. 

548.  (5r.  (§r  is  often  used  in  Faust,  as  pronoun  of  address,  where 
3br  would  be  too  formal  or  polite  and  2)11  too  familiar.  In  Goethe's  youth 
it  was  still  freely  used  by  parent  to  child,  teacher  to  pupil,  and  between 
gossips;  it  being  regarded  as  somewhat  more  respectful  than  2)U.  Thus 
Marthe  and  Gretchen  use  both  2)it  and  @ie  (3d.  sing.)  to  each  other,  and 
Faust  uses,  on  occasion,  all  three  pronouns  in  addressing  Wagner.  If  the 
speaker  has  been  using  3hr,  the  change  to  @r  conveys,  as  here,  a  touch  of 
frigidity  and  temper;  if  he  has  been  using  @r,  the  change  to  3)u  is  familiar 


264  NOTES. 

and gemiithlich  (cf.  1.  2882).  —  rebltrfjCtt  ©Cttrittlt,  'honest  gain.'  Some, 
e.  g.,  Schroer,  suppose  that  Faust  actually  means  to  advise  Wagner  to  learn 
a  trade;  but  in  that  case  why  does  he  go  on  advising  him  about  oratory? 
The  meaning  is  rather:  Be  honest  with  your  hearers;  do  not  seek  to  gain 
glory  (be§  9tebner§  ©liicf)  through  shams. 

549.  frljcllcnlUUtcr,  'bell-tinkling';  in  allusion  to  the  bells  worn  by 
court-fools. 

555-  ©djttttyel  frfiufelt,  '  prink  up  humanity's  leavings,'  or,  perhaps, 
'  twist  gewgaws  for  men ' ;  a  much  discussed  and  still  somewhat  doubtful 
expression.  Herder,  whose  influence  is  discernible  all  through  this  dia- 
logue, makes  use,  in  his  essay  An  Prediger,  of  the  expression  gefraujelteS 
©djniljttJerf  for  the  rhetorical  flourishes  with  which  preachers  hide  the 
truth.  But  ©djnitjlDerf  is  not  quite  the  same  as  @d)m£et,  nor  is  Herder's 
metaphor  clearer  than  Goethe's,  when  we  try  to  realize  the  picture.  Most 
likely  there  is  a  reference  to  the  business  of  making  paper  '  Manschet- 
ten  '  for  candles,  or  the  like.  The  preacher's  fine  flourishes  are  made 
out  of  shreds  of  thought  which  he  has  taken  from  humanity's  waste- 
basket  (the  commonplaces  of  the  past)  and  crimped  and  twisted  into 
ornamental  forms.  Cf.  G.-J.,  VI.,  309,  and  V.  L.,  I.,  56  and  526. 

558-9.  The  saying 'life  is  short,  but  the  art  is  long' — 6  ftioq  /?pa^i)c, 
r)  6e  ri%v7}  /za/cp^,  —  begins  the  Aphorisms  of  Hippocrates,  who  had  refer- 
ence to  the  healing  art.  The  adage  was  a  favorite  one  with  Goethe.  In 
a  letter  of  Nov.  15,  1774,  he  writes:  2)ie  Stage  jtnb  ^itrj  linb  bie  $unft 
tang.  Cf.  1.1787. 

560.  fritifdjem  23eftre6en,  'critical  (i.  e.,  philological)  pursuits';   the 
study  of  ancient  documents  in  order  to  determine  questions  of  authorship, 
date,  priority,  etc.,  in  theology. 

561.  UOT,  'in  the  region  of,'  'in,'  rather  than  'concerning,'  though  the 
latter  is  the  common  meaning  of  lint  with  bang. 

562.  tttrfjt;  pleonastic,  as  often  in  exclamations.  Thus  Goethe  writes : 
2Bie  jeib  ihr  md)t  jo  gut,  'how  good  you  are  ';  ttrie  erfcljraf  fte  nirfjt,  '  how 
frightened  she  was.'  —  SKittel  means  rare  or  expensive  books,  containing 
original  sources  (OueHen)  of  information. 

564.  bett  IjrtlliCH  20cgr  '  half  the  way '  toward  becoming  a  great 
scholar. 

570-85.     This  dialogue  needs  to  be  read  in  the  light  of  Herder's  revo- 


NOTES.  265 

lutionary  pamphlet,  Auch  tine  Philosophie  etc.,  of  the  year  1774.  Herder 
there  pours  his  scorn  upon  the  fashionable  practice  of  looking  at  the  past 
de  haut  en  bas  and  treating  it  as  a  text  for  self-complacent  reflections  on 
the  wonderful  progress  of  the  '  age  of  enlightenment.'  Goethe  puts  Her- 
der's views  into  the  mouth  of  Faust,  and  makes  Wagner  represent  the  con- 
ceited Aufklarungsphilosophen  (vaguely  referred  to  in  1.  578  as  ber  §erreit, 
cf.  ber  failbem  §erren  in  1.  106),  whom  Herder  attacks.  Cf.  Suphan  in 
V.  L.,  I.,  527. 

576.  S3udj ©iegeltt;  cf.  Rev.  v.  i. 

580.  tftT3.     The  eS  refers  to  the  literary  work  of  the  'gentlemen'  — 
their  fine  historical  '  portraits,'  that  make  allowance  for  the  darkness  of  the 
past  and  show  how  '  we  in  our  day '  have  grown  so  much  wiser  and  better. 

581.  Cltd);  ethical  dat. 

582.  $ef)Hd)tfaft  ....  9iUttM)Clfatttmcr,  '  refuse-tub  and  lumber-attic.' 
The  historical  '  portraits '  with  their  commonplace  moral  reflections  are 
likened  to  a  household  receptacle  for  worthless  odds  and  ends. 

583.  4?OlM)t=  Utt&  ©taatSdCtum;  a  name  given  to  a  kind  of  dramatic 
performance  that  became  popular  in  the  seventeenth  century.     The  plays 
dealt  with  '  state '  affairs  (bloody  tyranny,  revolution,  political  intrigue 
etc.),  and  so  were  called  ©taatSactionen.      Such  a  play  was  called  a 
^jauptflCtiott,  '  principal  performance,'  to   distinguish   it    from   the   farce 
given  on  the  same  evening.    The  two  titles  were  then  combined.     In  time 
the  plays  became  notorious  for  their  spectacular  extravagance,  their  bom- 
bast and  their  crude,  obtrusive  moralizing.     It  is  this  last  quality  of  them 
which  furnishes  the  point  of  the  comparison  in  the  text. 

584.  prufllttatifdjeit,  '  didactic.'   The  puppet-plays  were  also  somewhat 
given  to  moralizing  comment. 

588.  ttlflg  ....  l)et§t,  'what  is  popularly  called  knowing.'  The  logic 
of  the  reply  is  :  How  little  do  they  really  know  of  the  human  heart  who 
talk  thus  glibly  of  '  understanding '  it !  And  if  one  does  attain  to  some 
real  insight,  he  had  better  be  silent,  lest  he  be  put  to  death.  Cf.  Intr.  pp. 
xxx,  xxxi.  Schroer  cites  appositely  the  following  passage  from  a  letter  of 
Goethe  to  Sophie  von  Laroche,  written  Dec.  23,  1774:  'To-day  I  have 
got  back  a  copy  of  Werther  that  I  had  loaned.  On  the  fly-leaf  was  writ- 
ten :  Tais-tot,  Jean-Jacques,  ils  ne  te  comprendront  point.  This  affected 


266  NOTES. 

me  very  strangely,  since  the  passage  in  Amilt  had  always  seemed  remark- 
able.' 

589.    backtab;  the  truth,  as  discovered  by  men  of  exceptional  insight. 

596.  I)0tte  ....  fortgcnwrfjt,  'should  have  liked  to  keep  right  on  sit- 
ting up.'  U.  and  Fgm.  have  the  more  importunate  batte  gent  6i8  tnorgett 
friif)  geroadjt. 

598.  al3,  'as  being,'  'since  it  is.'  The  lines  598-601  are  not  found  in 
U.  or  Fgm.  They  were  evidently  added  to  forecast  the  Easter  walk  and 
to  give  more  point  to  the  following  words  of  Faust. 

605.  With  this  line  U.  and  Fgm.  break  off  abruptly.  On  the  Second 
Monologue,  as  related  to  the  general  plan  of  the  poem,  cf.  Intr.  pp.  Ixi, 
Ixii.  While  the  text  as  we  have  it  is  clearly  the  work  of  1797-1801,  yet  it 
contains  certain  peculiar  thoughts  and  expressions  which  can  be  parallelled 
very  closely  from  Goethe's  pre-Weimarian  writings.  These  may  be  only 
the  result  of  a  conscious  attempt  on  the  poet's  part  to  return  to  the  mental 
associations  of  his  youth,  or  he  may  have  elaborated  the  scene  from  an 
early  •*  concept '  preserved  either  in  memory  or  in  writing. 

607.  ©eifterfMe.    Cf.  note  on  gutte,  1.  520. 

613.    fottte,  'was  fated,'  'could  but';  almost  =  mufjte. 
614-22.     Faust  here  describes  the  neue  ©efiible  of  1.  478. 

615.  bent  Spiegel.    Divinity  is  thought  of  as  a  dazzling  mirror  reflect- 
ing back  a  celestial  radiance  upon  the  beholder.    The  conception  may  owe 
somewhat  to  the  account  of  Moses  and  the  Lord  in  Ex.  xxxiii,  xxxiv. 

616.  ©cut  fel&ft,  '  himself; '  fein  the  genitive  with  geniefjert. 

617.  ttbgeftretft  ben  (SrbCttfoIjtt,  '  had  stripped  off  mortality.'     Supply 
Ijotte. 

618.  nteljr  al§  (fljcrub.     The  cherub  is  a  passive  servant  of  divinity; 
Faust  had  dreamed  of  a  free,  godlike  activity  (fdjaffenb,  1.  620) . 

621.  ©id)  .  .  .  .  bcrmaft,    'presumptuously   dreamed.'      2ll)mtng§rjoK 
means  '  bodeful,'  usually  of  ill,  here  of  good. 

622.  $onnerttii)rt ;  the  rebuff  in  11.  512-13.  —  2ftid)  Ijittwcggcrnfft, 
'  swept  me  away,'  viz.,  from  the  place  of  my  high  dreams. 

631.    jcncnt  'Jirang;  the  impulse  to  seek  help  from  the  spirit-world. 
632-3.     Our  'deeds'  interfere  with  the  course  of  our  life  when  their 
effects  leave  us  no  longer  free  to  pursue  a  given  line.     Faust  has  evoked 


NOTES.  267 

the  Spirit,  thus  performing  a  bold  and  in  one  sense  successful '  deed,'  but 
the  sequel  was  such  that  he  feels  debarred  from  trying  again. 

634-5.  ^Cttt  4?errlt(fyftett in,  'foreign  and  ever  more  foreign 

matter  crowds  itself  upon  the  noblest  conceptions  of  the  mind ' ;  i.  e.,  we 
are  not  faithful  to  the  thoughts  of  our  supreme  moments;  lower  ideals, 
compromises,  doubts,  anxieties  crowd  in.  From  this  point  Faust's  soliloquy 
becomes  a  series  of  mournful  reflections  on  the  weakness  of  human  nature 
and  the  misere  of  life. 

635.  frctnb  itnb  frcmbcr;  probably  a  bold  substitute  for  frember  itnb 
imtner  fremberer,  which  in  turn  =  itnmer  frembcrer  uttb  fremberer.  Cf. 
1.  238,  note.  In  the  predicate  and  adverbially  Goethe  often  uses  fern  unb 
ferner  (Tasso,  1.  917;  cf.  the  fern  unb  fo  roeiter  fern  of  Faust,  1.  9866), 
ftertl)  unb  roertBer,  etc. ;  but  this  case  is  probably  unique  for  an  attributive 
adj.  Strehlke  Wb.  thinks  both  adjectives  are  positive,  as  one  might  say 
©Ute8  unb  ©Ute8  tfyun.  E.  Schmidt  calls  fremb  an  adv.,  and  cites  1.  3242. 

639.  ©rftarren,  '  grow  torpid.' 

644.  @orge,  'anxiety,'  'worry.'  In  I.  11384  bie  @orge  is  introduced 
as  a  gray  old  hag  who  makes  man  a  prey  to  morbid  solicitudes.  —  QHeiti) 
=  fogletd),  '  forthwith,'  '  straightway.' 

647-51.  A  man  worries  about  his  property,  his  wife,  and  children; 
he  dreads  death  from  fire,  dagger  or  poison,  and  is  thus  continually 
trembling  at  the  blow  that  may  fall,  but  probably  never  does  fall. 

656.  3ft  eS  •  •  •  •  toWCttjjet,  '  is  it  not  dust,  that  which  narrows  in  this 
high  wall  with  its  hundred  compartments  (au8  =  beftebenb  OU8)  about 
me  ? '  With  Derenget  cf.  befdjrcintt  in  1.  402. 

658.    Xdtttl,   'frippery.' 

666.  Icttfjtcn.  If  this  is  what  Goethe  wrote,  the  meaning  is  '  buoyant,' 
'  making  flight  easy,'  in  contrast  with  the  following  fdjroer.  But  F.  M.  von 
Waldeck,  G.-J.,  I.,  384,  conjectures  plausibly  that  Goethe  wrote  lidjten,  as 
in  1.  672,  and  that  Ieid)ten  is  the  mistake  of  a  type-better  whose  mind  was 
preoccupied  with  the  antithesis  teidjt  —  fdjroer. 

668.  frcUirf);  here  used,  apparently,  in  the  earlier  sense  of  'certainly,' 
« surely  ',  as  if  there  might  be  some  doubt  about  the  skull's  mocking.     The 
modern  concessive  meaning  '  to  be  sure,'  '  forsooth,'  gives  no  sense  here. 

669.  ^Salft  unb  23itgel,  'roller  and  (stirrup-shaped)  handle.' 

671.    CJier  ....  froilS,  'your  web  is  intricate.'    The  S3art  of  a  key  is 


268  NOTES. 

the  part  on  which  the  bits  and  wards  are  cut  or  cast,  the  part  that  revolves 
in  the  lock;    Eng. '  web.' 

672.  WdjCtmmfjUoU;  adj.  with  Sftatur.  As  scientific  thinker,  Goethe 
held  that  the  <  secrets  of  nature  must  be  divined  from  contemplation  of 
objects  as  they  are;  that  scientific  progress  must  come  always  in  the  form 
of  an  aperfu,  or  intuition,  the  mind  in  nature  speaking  directly  to  the 
mind  of  man.  To  seek  help  from  instruments  seemed  to  him  like  doing 
violence  to  nature.  So  he  says  of  his  early  botanical  studies :  '  Cutting  up 
and  counting  were  not  in  my  nature.'  On  this  unscientific  prejudice  of 
Goethe  and  its  bearing  upon  his  scientific  work,  cf.  Du  Bois-Reymond, 
Goethe  und  kein  Ende,  p.  22  ff . 

676.   ©erotlje;  the  Urtmter  £au§ratb,  of  1.  408. 

678.  JHollc;  some  roll  of  parchment.  Diintzer  refers  it  to  the  lamp- 
pulley,  but  that  would  hardly  show  smoke  enough  to  attract  attention. 

682-3.  993a3  bit  ....  fcefi^eit,  '  what  thou  hast,  as  an  inheritance 
from  thy  fathers,  earn  it  in  order  to  possess  it.'  This  sounds  like  nonsense, 
but  the  meaning  depends  largely  on  a  Goethean  distinction  between  baben 
and  bejt^ert.  £>aben  means  '  to  have,'  beft^en  '  to  own  and  feel  the  worth 
of.'  Thus  in  Goethe's  K'unstlers  Erdewallen  the  artist  apostrophizes  the 
picture  he  is  painting,  which  he  loves  as  his  very  own,  and  says  of  the  pro- 
spective rich  purchaser:  er  beftljt  bid)  Itirfjt,  er  bat  bid)  mir,  'he  will 
merely  have  thee,  not  possess  thee.'  Cf.  Tasso,\.  114  and  the  editor's 
note.  —  (StttJtrfi  t§  means  '  make  it  thy  own '  (by  using  it) .  The  sense 
is  then :  Use  thy  inheritance  if  thou  wouldst  feel  it  to  be  thy  very  own.  — 
^>ttft  is  not  an  auxiliary. 

685.  9tltr  ttm§  ....  ItitljCM,  'only  what  the  moment  creates  can  the 
moment  use.'  The  meaning  of  this  oracular  saying  is  that  one  can  turn  to 
account  at  any  time  only  that  which  is  the  fresh  .result  of  one's  own  pro- 
ductive activity.  The  proposition  hardly  holds  good  of  old  furniture,  but 
it  does  apply  to  the  intellectual  legacies  of  the  past,  and  this  is  what  the 
poet  really  has  in  mind.  I  can  turn  to  account  the  wisdom  of  Solomon  or 
Shakespeare  only  when  I  have  personally  traveled  Solomon's  or  Shake- 
speare's ground,  and  so  made  his  creation  mine. 

690.    ^l)tolc,  '  phial,'  in  the  sense  of  '  long-necked  glass  bottle.' 
692.    ^Jicitfri)CHll)tt»  Uttb  ®Ultft.     Faust  is  proud  of  the  knowledge  and 
skill  which  have  enabled  him  to  make  the  deadly  opiate. 


NOTES.  269 

698.  $>C3  ©etfteS  ^fatfjftrom.     The  •  flood-tide  of  the  spirit '  is  the 
intense  excitement  under  which  he  has  been  laboring.     The  sight  of  the 
poison  suddenly  brings  a  calmer  mood. 

699.  U)erbr  id)  fytlUWdgettliefett,   'I  am  beckoned  out';    more  accu- 
rately, '  I  am  shown  the  way,'  '  directed.'  —  The  fateful  transition  is  con- 
ceived not  as  a  voyage  upon  the  '  high  sea '  which  separates  this  life  from 
the  other,  but  as  a  translation  through  space  out  over  it. 

702.  ^euertoagcn;  in  allusion,  no  doubt,  to  Elijah's  chariot  of  fire, 
2  Kings  ii.  1 1 . 

705.    rcincr,  '  pure,'  i.  e.,  undisturbed  by  any  galling  sense  of  limitation. 

707.   erf*  twdj,  '  but  lately.'     Cf.  1.  653. 

710.  Dertneffc  ;  metri  gratia  tor  Dermtfj.  But  Goethe  uses  the  weak 
imperative  occasionally,  even  when  meter  does  not  require  it. 

712  ff.  Suicide  is  here  thought  of  as  an  act  of  supreme  courage,  the 
assertion  of  man's  independence.  The  very  gods  can  not  compel  him 
to  live  if  he  will  not.  The  moral  aspect  of  self-destruction  was  a  ques- 
tion much  debated  in  the  eighteenth  century.  Cf.  Werther's  Leiden, 
letter  of  Dec.  20,  and  E.  Schmidt,  Richardson,  Rousseau  und  Goethe, 
p.  228.  Hell  is  imagined,  after  the  early  Christian  artists,  as  a  place  of 
horrible  torment,  situated  underground  or  hi  a  mountain  and  approached 
by  a  passage  (Sitrdjgang)  from  the  mouth  of  which  smoke  and  flames 
belch  forth.  Jptnjufireben,  L  716,  does  not  imply  that  Faust  courts 
damnation,  but  only  that  he  is  in  a  mood  to  go  boldly  and  confront 
these  imagined  horrors.  In  reality  he  thinks  them  old  wives'  tales  (1. 369). 

719.  in'3  9Jid)t£.    Du  Bois-Reymond,  p.  16  ff.,  objects  that  Faust,  who 
has  just  seen  a  spirit,  has  no  right  to  be  skeptical  about  the  reality  of  the 
life  beyond.     But  there  are  many  passages  in  the  poem  in  which  the  mod- 
ern skeptic  peeps  out  from  under  the  legendary  mask  of  Faust.    It  may  be 
observed,  too,  that  the  existence  of  spirits  does  not  of  itself  prove  man's 
immortality;    and  also,  finally,  that  the  Faust-books,   puppet-plays  and 
Marlowe  all  make  Faust  doubt  the  reality  of  heaven  and  hell.     Cf.  Intr. 
p.  xiii. 

720.  Sd)0lc.     We  have  to  think  of  a  costly  goblet  decorated  with 
pictures.     The  game  alluded  to  below  was  like  this :    One  person,  filling 
the  beaker,  would  pledge  his  neighbor,  calling  on  him  for  an  impromptu 
rime  in  explanation  of  the  pictures.     In  case  of  failure,  the  person  pledged 
had  to  drain  the  glass  at  one  draught. 


270  NOTES. 

723.  JytCUbcufcftC  ;  the  sing,  metri  gratia  for  the  plu.,  since  no  par- 
ticular festival  seems  to  be  referred  to. 

725.  JUiJcbrurfjt ;  in  the  technical  sense  of  'pledging'  a  health,  as  in 
1.  736. 

736+.  (TI)or  bet  G'ltfld.  The  choruses  in  this  scene  are  to  be 
thought  of  as  part  of  an  Easter  celebration  taking  place  in  a  neighbor- 
ing church.  Singers  personate  the  angels  of  the  resurrection,  the  mourn- 
ing women  and  the  disciples.  Such  a  service,  held  in  the  night  before 
Easter,  was  once  common  in  the  Catholic  church.  Cf.  Euphorion, 
III,  391. 

737-  (£I)rift  ift  erftttttbcit ;  the  beginning  of  an  old  medieval  Easter- 
song,  whence  the  archaic  GEfyrifl  for  <£l)riftu3. 

739-41.  'JJCtt  . . . .  Utnnmitbcn,  'whom  baneful,  insidious,  hereditary 
shortcomings  (those  of  human  nature)  entwined.' 

742.  iicfcx'  3ltmmcit,  the  bells  ringing  here  and  there  in  the  city; 
tyeller  £ott,  the  chorus  close  by. 

747.  llltt  (9robe3  Wod)t,    'about  the  darkness  of  the  tomb.'     llm'8 
<$rabe§  -ftadjt  would  be  mor$  natural;   but  cf.  33erge8=§oljle  in  1.  394. 
The  line  refers  to  the  words  '  he  is  not  here,  but  has  arisen,'  spoken  by  the 
'  two  men  in  shining  garments '  whom  Mary  Magdalene  and  her  companion 
found  at  the  sepulcher.     See  Luke  xxiv.  i  ff.     According  to  John  xx.  I, 
Mary  Magdalene  came  to  the  tomb  very  early  in  the  morning, '  when  it  was 
yet  dark.' 

748.  Okroi^fyctt SBlUtbe,   '  (giving)  confirmation  to  a  new  cove- 
nant.'   ©ettrifjfyett  is  best  explained  as  a  kind  of  '  cognate'  ace.  with f tang. 
Cf.  Brandt,  §    202.     The  '  new  covenant '  is  the  diadqici}  via,  of  Hebrews 
xii,  24. 

749-56.  6I)Ot  bet  SBcificr.  None  of  the  evangelists  states  that  the 
body  of  Christ  was  wrapped,  anointed,  and  laid  in  the  tomb  by  women;  — 
the  office  is  uniformly  represented  as  performed  by  Joseph,  or  by  Joseph 
and  Nicodemus,  the  women  watching  from  a  distance.  Matthew  makes 
the  two  Marys  come  on  the  morning  of  the  third  day,  simply  '  to  see  the 
sepulcher.'  According  to  Mark  and  Luke,  they  come  with  spices,  intend- 
ing to  anoint  the  body,  but  they  do  not  find  it.  Goethe  adapts  the  details 
of  the  gospel  narrative  to  his  own  purposes. 

762-3.  2Bfl3  fttd)t ....  Staulic,  'why  seek  ye  me  in  the  dust, ye  potent 
and  soothing  heavenly  tones '?  2lm  @tailbe  differs  from  im  ©tailbe  (1. 


NOTES.  271 

654)  in  that  it  means  '  cleaving  to  the  dust.'  In  some  verses  of  the  year 
1 766  (Briefe,  I.,  46)  Goethe  writes : 

Za  foil)  id)  erfi,  ba|  tnein  erfjabner  ^vlug, 
SBie  er  tnir  fdpien,  nid)t§  roar  al§  ba§  Semiiljn 
3)e§  SSurmS  im  ©  t  a  u  b  e ,  ber  ben  abler  fiebt 
3ur  Sonn'  ft<&  fc&roingen  unb  roie  ber  binauf 
©id)  fefjnt.    Gr  firaubt  empor  unb  toinbet  ft(fi,, 
ttnb  dngftlid)  fpannt  er  oUe  Dtcroen  an 
Unb  bleibt  am  Staub. 

So  here,  Faust  '  cleaves  to  the  dust,'  feeling  that  the  lofty  flight  of  religious 
feeling  is  not  for  him. 

764.  IDCtrfjC  ;  not  'weak'  in  a  contemptuous  sense,  but  'susceptible,' 
'  soft-hearted.' 

766.  The  more  common  and  orthodox  theory  is  that  faith  is  the  child 
of  miracle. 

771-8.  In  these  reminiscences  of  Faust  we  hear  Goethe  describing  the 
religious  experiences  of  his  own  youth.  Cf.  Intr.  pp.  xxvi,  xxvii. 

771.   $ttfj  j  here  of  the  mystic  kiss,  the  benediction,  of  divine  love. 

780.  ^freie§  (iiliitf .  This  « free  happiness  '  of  the  spring  festival 
(Easter)  is  described  in  11.  903  ff. 

785-96.  gljor  ber  ^jmtgcr.  The  general  sense  is:  While  the  risen 
Lord  is  happy  in  heaven,  we  here  on  earth  can  but  mourn  our  loss,  though 
our  loss  is  his  gain.  The  first  six  lines  are  protasis  and  concessive,  the 
last  six  apodosis,  the  Uefj  er  of  1.  793  simply  continuing  the  inversion  ftnb 
ft)ir  in  1.  792. 

787.  £e6enb  ©rljubene ;  =  ber  auf  ber  <5rbe  lebenb  Srbabene,  i.  e., 
ber  fdjon  auf  Srben  ein  erhaberteS  £eben  fiibrte. 

789.  SBerbduft,  'joy  of  transition,'  i.  e.,  the  joy  of  entering  upon  a 
new  existence. 

799.    SBunbClt;  the  'bonds'  of  sorrow  and  depression. 

801-5.  The  participles  go  with  eild)  in  1.  806,  and  denote  condition. 
'  If  you  live  praising  him  by  your  actions  (tbatig)  etc.,  he  is  near  you.' 


SSor    bent    Sljor. 

This  scene  is  not  found  in  U.  or  Fgm.,  but  there  are  several  good  rea- 
sons for  thinking  that  it  had  an  early  origin.     Cf.  Kogel  in  V.  L.,  II.,  558 


272  NOTES. 

ff.  (l)  The  scenery  is,  even  down  to  minute  details,  that  of  Frankfurt; 
cf.  the  note  to  1.  807-)-,  below.  (2)  The  language  is  in  general  that  of 
Goethe's  youth.  (3)  The  scene  is  of  a  kind  that  he  was  more  fond  of 
depicting  in  his  youth  than  in  his  later  years.  (4)  The  song  in  11.  949-80 
is  known  to  have  been  in  existence  as  early  as  1783.  But  the  early  plan 
seems  to  have  had  in  view  a  holiday  in  May  or  June,  rather  than  on  Easter 
Sunday,  which  latter  would  have  been  too  early  for  the  peasant-dance 
under  the  linden,  for  sitting  comfortably  in  the  open  air  (11.  1022-3),  and 
for  the  'green-girt  huts'  of  1.  1071,  which  can  hardly  be  anything  else 
than  vintagers'  huts  amid  the  growing  vines.  It  seems  probable,  therefore, 
that  11.  903-40,  with  their  explicit  reference  to  Easter,  were  inserted  in 
1797-1801,  after  the  decision  had  been  reached  to  let  Faust  be  recalled  by 
the  Easter  music  from  his  thoughts  of  suicide.  This  is  probable,  too,  on 
other  grounds;  for  the  monologue  in  question,  with  its  accurate  scientific 
observation,  its  eye  for  the  picturesque,  its  allusion  to  the  sun  as  landscape- 
painter,  etc.,  suggests  Goethe's  later  rather  than  his  earlier  manner. 

It  is  also  very  certain  that  the  original  plan  did  not  contemplate  the 
introduction  of  Mephistopheles  as  the  casual  unmotivated  outcome  of  an 
afternoon  walk.  Instead  of  that,  we  may  guess  that  something  of  this 
kind  had  been  thought  of:  After  the  Earth-Spirit's  rebuff,  Faust  was  to  be 
somehow  recalled  from  thoughts  of  suicide  by  the  appearance  of  Mephis- 
topheles in  poodle  form,  as  a  being  of  lower  order  whom  he  could  '  com- 
prehend.' (Certain  passages  of  the  text  as  we  have  it  still  connect  Me- 
phistopheles, in  a  way  that  is  left  quite  mysterious,  with  the  occasion  of 
Faust's  suicidal  purpose;  cf.  11.  1579-82  and  11.  3270-71.)  Then  a  friendly 
relation  was  to  spring  up  between  the  two  and  an  interval  of  time  to  elapse 
before  Faust's  definitive  abandonment  of  his  professorship  for  the  role  of 
a  'homeless  wanderer'  (11.  3348-9).  During  this  time  the  devil,  first  as 
poodle,  then  in  human  shape,  was  to  associate  with  Professor  Faust  as 
familiar  spirit,  visiting  him  often,  accompanying  him  on  his  walks,  etc.  In 
this  interval  there  were  to  be  several  pictures  showing  Faust  in  his  profes- 
sional environment.  One  of  these  pictures  we  have  in  the  student  scene, 
another  was  to  be  a  holiday  scene  which  should  exhibit  the  brooding  pro- 
fessor in  contact  with  the  happy,  naive  people.  Faust,  at  war  with  himself 
and  with  the  scholar's  life,  was  to  take  an  afternoon  walk  with  his  famulus 
and  the  tricky  poodle,  and  come  back  at  nightfall,  refreshed  and  calmed 


NOTES.  273 

by  the  soothing  aspects  of  nature.  Then,  in  due  time,  very  likely  in  con- 
sequence of  an  express  petition  of  Faust  to  the  Earth-Spirit  ( cf.  the  scene 
'Dismal  Day,'  11.  13  ff.),  the  poodle  was  to  be  given  human  shape. 

Why  these  features  of  the  early  plan  were  discarded  on  the  final  revision 
is  not  hard  to  discover.  The  poodle-devil  as  dramatis  persona  was  quite 
unmanageable  in  a  serious  connection.  A  canine  interlocutor,  or  the 
hocus-pocus  incident  to  his  anthropomorphization,  would  have  made  com- 
edy out  of  the  suicide  scene.  Seeking  for  something  that  would  preserve 
the  poetic  dignity  of  the  scene,  the  poet  hit  fortunately  upon  the  Easter 
motive  which  not  only  preserves  but  heightens  it.  This  brought  with  it 
the  idea  of  changing  the  summer  holiday  into  Easter-Sunday.  So  the 
monologue,  11.  903-40,  with  Wagner's  reply,  was  inserted  in  the  interest  of 
the  new  chronology,  but  the  tell-tale  evidences  of  the  earlier  intention  were 
either  not  noticed  or  deliberately  ignored.  Moreover,  having  now,  in  1 797- 
1801,  decided  to  drop  the  Earth-Spirit  and  to  introduce  Mephistopheles  as 
the  devil,  acting  on  his  own  responsibility  under  a  quasi  permission  of  the 
Lord  in  heaven,  there  was  no  better  plan  than  to  let  Faust  come  upon  the 
poodle  seemingly  by  accident  in  the  course  of  his  Easter  walk,  and  then, 
in  a  new  scene  so  constructed  as  to  bear  the  comedy,  convert  the  dog,  by 
means  of  the  necessary  hocus-pocus,  into  a  man. 

807+.  2?0t  bent  XfjOf.  The  scene  as  identified  in  great  detail  by  the 
late  Friedrich  Zarncke,  V.  L.,  II.,  556,  is  just  outside  the  Sachsenhausen 
Gate  (Affenthor)  south  of  and  across  the  Main  from  Frankfurt.  Here  in 
Goethe's  time  there  was  a  convergence  of  the  highways  leading  east  to 
Offenbach,  south  to  Darmstadt  and  southwest  to  Mainz.  At  this  point, 
presumably,  the  beggar  of  1.  852  sits  with  his  hand-organ.  Here  also  the 
'prentices  separate.  Some  of  them  wish  to  go  to  the  '  Forsthaus '  (in 
Goethe  Jagerhaus)  some  two  miles  southwest,  others  to  the  '  Gerbermiihle,' 
lying  a  mile  or  more  up  the  river  to  the  east.  The  '  river  inn '  is  a  short 
distance  southeast  of  the '  mill,'  but  the  way  to  it  lies  through  low,  treeless 
ground  (1.  812).  '  Burgdorf '  means  the  village  of  Oberrad,  about  a  mile 
southeast,  and  back  from  the  river,  whence  the  '  up  '  of  1.  814.  The  name 
is  changed  because  Goethe  did  not  wish  to  make  his  topography  explicit : 
university  students  and  Faust  and  Wagner  would  be  out  of  place  in  Frank- 
furt. Faust  and  Wagner  walk  southeast  up  toward  Oberrad  and  pause  on 


274  NOTES. 

a  height  where  they  can  hear  the  tumult  of  the  'village'  ahead  (1.  937) 
and  also  have  a  good  retrospect  of  the  city,  with  the  people  emerging  from 
the  Affenthor,  and  of  the  boats  on  the  river.  The  '  mountain  '  of  1.  935 
refers  to  the  heights  of  the  Taunus  in  the  far  northwest  across  the  river. 

816.    ^pattbel,  'rows.' 

818.  5Uttt  brittCttmcI.  'Prentice  no.  3  has  lately  been  in  two  fights 
at  Burgdorf. 

821+-  (£r  ftC  ;  i.e.,  erjkS  ©ienftmabdjeit,  the  natural  gender  being 
followed  instead  of  the  grammatical. 

824.  ^loit,  'platform'  for  dancing;  a  South  German  usage  of  the 
word. 

827+.  Sdjitlcr  ;  in  the  sense  of  the  modern  ©tltbettt.  ©tubent  is  the 
word  regularly  used  in  U.,  but  in  Fgm.  it  appears  uniformly  changed  to 


830.  fcetgettber  £o6«lf.  S3eigen  is  a  weak  factitive  of  beiftett  and 
meant  originally  'to  make  bite,'  now  usually  'to  macerate'  or  'pickle.' 
But  betjenb  often  means,  as  here,  '  pungent.'  5£obacf  is  the  older  form, 
from  Sp.  tobacco,  through  the  Eng.  The  now  usual  Sabdf  has  the  vowel 
of  the  Fr.  tabac.  Goethe  uses  both  forms. 

831+.  SBitrgerntabdjeit  ;  girls  of  the  citizen  class,  intermediate  be- 
tween '  servant-girls  '  and  '  young  ladies.'  But  the  latter  will  do  for  a 
translation. 

841.  licljtttcn  ....  ttttt,  'will  take  us  with  them  too,  though,  after  all.' 

842.  $tfj  •  •  •  «  JJCtttrt,  '  I  don't  like  to  be  under  constraint.'    The  com- 
pany is  too  high-toned  for  him. 

844.    <3amftag3;  South  German  for  @otmabenb§. 

846.  SBurflemetfter  ;  a  dialectic  survival  of  M.  H.  G.  burgemeister. 
Goethe  seems  to  have  preferred  it  both  early  and  late  to  the  now  more 
usual  Siirgermetfter. 

853.  burfcnrotJ),  'with  flushed  cheeks';  rotbbttdig  =  'ruddy-cheeked' 
(Schroer). 

856.  Ictertt,  'grind.'  The  'lyre'  is  here  a  guitar-like  instrument, 
the  strings  of  which  are  moved  by  a  wheel  turned  by  a  crank,  the  so-called 
SSaurenleier  or  beutfc^e  Seier  ;  cf.  Grimm  Wb.,  VI.,  682. 

863.  fyinten,  ttJCit,  '  away  back.'  3n  ber  Stiitfei  alludes  to  the  Russian- 
Turkish  war  of  1  767-74. 


NOTES.  275 

872.  btt$  ....  Slut,  'the  handsome  young  creatures.'  3unge8  33Iut, 
for  'girl,'  is  a  favorite  expression  with  Goethe.  Cf.  11.  2636,  2907,  3313, 
and  Grimm,  sub  voce  93Iltt.  It  is  here  applied  to  both  the  girls. 

874.  Q§  tft  fdjOtt  gilt,  '  it's  all  right,'  i.  e. :  /  know  what  kind  of 
thoughts  are  hidden  under  that  proud  coquettish  air.  The  '  young  ladies ' 
had  been  last  year's  customers  of  the  old  fortune-teller. 

876.    3fgcttlje;  the  name  of  one  of  the  girls. 

878.  3ttttCt  2lnbrea3  9larfjt.  On  this  night,  Nov.  29,  German  girls 
were  wont  to  consult  the  oracles  and  the  fortune-tellers  with  regard  to 
their  future  lovers  or  husbands.  For  the  folk-lore  on  the  subject,  see 
Grimm,  D.  M.,  II.,  936,  and  III.,  454,  470. 

880.  iirijftott;  in  allusion  to  the  practice  of  ^rtyftallfehen;  cf.  Grimm 
Wb.,  V.,  2482,  and  D.  M.,  III.,  431.  The  fortune-tellers  had  their  cus- 
tomers look  at  a  crystal,  a  poor  mirror,  a  sword-blade,  or  other  object  re- 
flecting the  light  dimly  or  confusedly,  and  imagine  that  they  saw  there  what 
they  wanted  to  see.  The  operator  professed  to  do  his  wonders  by  conjur- 
ing the  indwelling  spirit  of  the  crystal. 

883-902.  SolbatCtt.  A  company  of  soldiers  march  by,  singing  a  song 
expressive  of  the  soldier-ideal. 

892.  2Berbett;  supply  Ult8  as  object.  '  We  let  the  trumpet  woo  us,'  'we 
follow  the  trumpet-call.' 

895-6.  The  thought  is:  See  how  we  go  storming  through  the  world! 
This  is  life. 

905.  £offttung3=@lu(f.  Cf.  Goethe's  Gotz,  V.,  14 :  £>ie  23tiume  trei* 
ben  $no«pen  rntb  aQe  2Selt  Ijofft. 

909.    OI)ttmad)ttge @ife3,  'impotent  gusts  of  sleet.' 

912.  SBUbllltg  UUb  Strebeu,    'formation  and  growth';  vegetation  is 
everywhere  starting  up  and  taking  shape. 

913.  Wilt,  '  is  trying.'     The  sun  is  personified  as  a  landscape-painter. 

914.  JHettter,  '  landscape ';    originally, '  district  along  a  river-bank,'  It. 
riviera.    The  scene  being  on  the  banks  of  the  Main,  Goethe  may  use  the 
word  in  its  original  sense. 

929.    bctyettb,  'speedily';   bebe'ltb  from  M.  H.  G.  bi  hende,  'by  hand.' 
940.    $ict  ....  fciu.     It  is  not  meant  that  the  people  use  these  words, 
but  that  their  shouts  are  so  interpreted  by  Faust,  for  whom  a  '  human  be- 
ing '  is  a  person  enjoying  life  in  free  contact  with  nature. 


276  NOTES. 

941-8.  Wagner  feels  edified  by  Faust's  talk,  but  not  by  the  scene  that 
has  inspired  it. 

943.  mid)  tyer  tierlieren  =  bierber  fommen  imb  mid)  toerlieren. 

945.  iii?i]Cl|rf)icl)CH,  '  nine-pin  bowling.'  Instead  of  balls  for  bowling, 
it  was  formerly  the  custom  to  use  disks  which  were  shoved;  hence  the  term 
$egelfd)ieben. 

949-80.  This  song  is  mentioned  in  Meister's  Lehrjahre,  II.,  II,  as  a 
'  song  which  we  can  not  present  to  our  readers  because  they  might  find  it 
absurd  or  even  improper.'  The  part  of  Meister  containing  the  allusion 
was  finished  before  Nov.  12,  1783;  see  Goethe's  Briefe,  VI.,  210. 

973.  tI)Ur  Wtr.  £hut  mir  would  correspond  to  the  jeib  tticfjt  of  1. 964. 
The  girl's  dignity  has  melted  somewhat. 

984.  .S;>orf)i)clnl)rtcr.  From  the  Middle  Ages  down  into  the  1 8th  cen- 
tury, ©elabrter  existed  side  by  side  with  ©elebrter  without  appreciable 
difference  of  meaning.  Since  then,  ©etafjtter  has  been  provincial  or 
slightly  humorous,  like  Eng.  '  larned.' 

987.  bring  U)n  511.    Cf.  1.  725,  note. 

988.  ttidjt  mtr.     The  natural  correlative  foitberit  Ciudj  is  omitted. 

993  ff.  The  legend  makes  Faust's  father  a  peasant.  But  the  father  of 
Paracelsus  was  a  physician,  and  Nostradamus  (cf.  1.  420,  note)  acquired 
great  distinction  for  his  services  during  the  plague.  We  have  here  a  blend- 
ing of  data  derived  from  different  sources.  Cf.  Intr.  p.  xxxi. 

looi.  Stud)  iinntttK"  ityr ;  =  aud)  ibr  bantals. 

1020.  toeing  ....  bemjtcu,  '  it  lacks  little  of  their  bending.'    The  syn- 
tactical logic  is :    @ie  braudjten  bid)  nur  ein  roenig  tnebr  gu  tierehren,  fo 
beugten  fie  u.j.  tt). 

1021.  btt^    ^CUCVabtlc  ;   the  holy  host,  or  sacred  wafer  symbolizing 
the  body  of  Christ.     In  Catholic  countries  the  host  is  borne  before  solemn 
processions,  and  the  devout  are  expected  to  prostrate  themselves  before  it. 
Cf.  Schiller's  Tell,  1.  1751. 

1034.  bunt Icr  (t-ljrcttmann,  *  obscure  gentleman.' 

1035.  $reife;  in  the  sense  of  $rei§iaufe,  « circuits,'  or  very  nearly 
what  we  now  call  '  processes.'     So  Goethe  speaks  of  UltfereS  ©afeittS 
$reije,  '  the  circuits  of  our  existence.' 

1037.  Mtit  flrtllenljitfter  3Jlit^e,  'with  cranky  zeal';  i.  e.,  without  in- 
telligent method. 


NOTES.  277 

1038.  5lbcptC!t,  'adepts,'  in  the  earlier  sense  of  one  expert  in  alchemy; 
lit., '  one  who  has  found '  the  panacea,  Lat.  adipiscor. 

1039.  frfinior.^C  $tiid)C,  'laboratory.'     Out  of  Gr.  ve«po/«zvreta,  i.  e.,  the 
art  of  divining  by  calling  up  the  ghosts  of  the  dead,  medieval  popular  ety- 
mology made  nigromantia,  'black-divining,'  as  a  general  term  for  the 
'  dark,'  '  occult '  arts.     Whence  '  black  art,'  and  '  black  kitchen '   for  the 
place  where  it  was  carried  on. 

1040.  JHcceptett,  'recipes.' 

1041.  bdS   SBUtrige   seems  to  mean  'the  incompatible,'  i.  e.  sub- 
stances chemically  '  opposed  '  to  one  another. 

1042—7.  The  technical  jargon  of  these  lines  seems  to  be  partly  Goethe's 
invention;  at  least  nothing  just  like  it  has  been  found  in  the  books  of 
alchemy,  though  much  of  the  imagery  can  be  pretty  closely  parallelled  from 
Welling  and  Paracelsus.  Cf.  Intr.  pp.  xxvii,  xxviii.  The  theory  was  that 
the  panacea  would  be  produced,  in  the  form  of  a  bright -colored  precipitate, 
by  mixing  two  substances  in  a  tepid  medium  and  then  treating  the  mixture 
in  heated  retorts.  But  the  fantastic  brains  of  the  alchemists  conceived  the 
chemical  union  as  a  marriage  and  the  precipitation  as  a  birth  or  offspring; 
hence  they  gave  to  the  '  parents '  symbolical  names  of  living  organisms. 
In  this  case  the  father  is  '  the  red  lion '  and  the  mother  'the  lily,'  but  some- 
times the  mother  was  called  '  the  white  eagle,'  and  the  name  '  lily '  was 
given  to  the  offspring,  i.  e.,  the  panacea  itself,  which  is  here  called  '  the 
young  queen.'  It  is  not  likely  that  Goethe,  who  knew  nothing  of  chemis- 
try, was  thinking  here  of  any  particular  chemical  bodies;  but  inasmuch  as 
mercury  was,  with  the  alchemists,  a  favorite  substance  for  these  experi- 
ments, it  is  easy  to  imagine  that  the  'panacea' would  in  very  fact  often 
turn  out  to  be  a  deadly  poison. 

1044.  mit  offltem  J-IammcnfCUCr  ;  i.  e.,  the  retort  was  heated  in  a 
free  flame. 

1053.  ben  (Sift ;  usually  ba«  ©ift,  but  now  and  then  ber  ©ift  in 
Goethe.  Schiller  also  makes  it  masc.  in  Kabale  u.  Liebe  V.,  7  :  9?od)  jpur/ 
id)  ben  ©tft  ttid)t.  The  word  is  hardly,  as  Schroer  thinks,  used  in  the  spe- 
cific sense  of '  dose,'  though  that  was  the  original  sense  of  the  word. 

1055.  lobt;  in  allusion  to  11.  995  ff. 

1056-63.  Here,  as  in  11.  570  ff.,  Wagner  represents  the  self-complacent 
Aufkl'drungsphilosoph,  whose  watchword  is  '  the  progress  of  the  race.' 

1064-7.     The  logic  is :  Alas  for  these  fine  hopes  of  yours,  that  by  add- 


278  NOTES. 

ing  ignorance  to  ignorance  through  successive  generations,  men  will  ever 
get  their  heads  above  the  waters  of  uncertainty,  when  we  have  no  founda- 
tion of  positive,  useful  knowledge  on  which  to  build. 

1072.  <Sie  riirft  ttttb  UiCttfjt,  'it  moves  and  recedes,'  i.e.,  it  is  gradually 
disappearing. 

1076—88.  Faust  dreams  of  flying  away  after  the  sun,  and  enjoying  from 
the  upper  air  a  prolonged  sunset  view. 

1078.  l>erul)tflt,  '  hushed '  in  the  evening  shadows. 

1079.  ©U&erbadj  in  gottme  ©trfimc.     The  great  rivers  (@trbme) 
would  appear  '  golden '  in  the  floods  of  sunlight,  the  brooks  reflecting  less 
light,  'silvery.' 

1082.  tttit  cnufirmtcn  23ud)ten.  The  heat  of  the  spring  sun  would 
already  have  '  warmed '  the  shallow  '  bays '  of  the  sea. 

1084.  OJOtttli;  the  sun.  Faust  imagines  his  flight  slackening  at  the 
sea-shore  and  the  sun  as  about  to  sink  from  his  view  after  all.  Then  a 
'  fresh  impulse  '  comes  and  sends  him  out  after  it  over  the  'ocean. 

1092-9.  This  dream  of  flying  like  a  bird  meets  us  often  in  Goethe's 
youthful  writings;  e.  g.,  in  Werther  (  Werke,  H.,  XIV.,  59)  :  '  Oh,  at  those 
times  how  often  have  I  longed  for  the  wings  of  a  crane  that  was  flying 
over  me,  to  soar  away  to  the  shore  of  the  boundless  sea,'  etc.  Again,  in 
the  Briefe  aus  der  Sckweiz  (Werke,  H.,  XVI.,  226),  flying  is  spoken  of 
as  one  of  those  '  bodily  powers  which  we  are  not  permitted  to  develop  in 
this  life.'  The  floating  clouds  inspire  him  with  a  '  desire  to  plunge  into 
infinite  space,'  and  the  soaring  eagle  makes  him  '  draw  deeper  and  deeper 
breaths '  in  his  longing  to  fly. 

1095.    frfjlttetternb,  'shrill- warbling.' 

1108.  ^erijautcn;  the  same  as  ^Jergament,  in  1.  566.  It  comes  from 
Gr.  (xuprrj)  Trepya^v^  through  Lat.  (charta}  pergamena,  '  paper  of  Per- 
gamos';  but  the  form  with  t,  as  if  from  Lat.  *pergamcntum,  is  the  pre- 
vailing one  even  in  M.  H.  G.  (permint,  permit,  perment,  etc.). 

1114.   bCfbcr  fitebe^luft,  '  gross  amorous  desire.' 

1116.  2>llft,  'dust';   a  little-used  Low  German  loan-word.     It  occurs 
again  in  1.  6758. 

1117.  (Beftlbett  tyoljer  Stfjncn,  'abodes  of  high  ancestors.'     The  Greek 
imagination,  and  not  the  Greek  only,  gave  a  home  in  the  sky  to  the  an- 
cestral heroes  of  eld. 

N  1127.  fid)  iiberfcreitet ;  =  ftd)  iiberaE  ouebreitet. 


NOTES.  279 

1130.  bet  fdjarfe  ©etfterjatyn.  The 'bite' of  the  north  wind  is  attrib- 
uted by  Wagner  to  the  sharp  tooth  of  one  class  of  weather-spirits. 

1133.  ttofyrettfid) fiuttgeiU     In  Germany  the  east  wind  is  ore- 

vailingly  dry,  and  a  dry  wind  seems  to  make  breathing  difficult. 

1134.  SSitftC,  'desert';   the  Sahara  presumably. 

1136.  erft  crqitirft.  The  '  refreshing  '  coolness  that  precedes  a  shower 
is  viewed  by  Wagner  as  a  malicious  trick  of  the  spirits  to  usher  in  pleas- 
antly the  subsequent  disagreeable  '  drenching.' 

1147.  ©aat  ttttb  ©toppd  ;  @aat,  the  freshly  starting  grain;  ©toppet, 
the  '  stubble '  of  last  year's  crop. 

1154.  ^ycucrftrubcl,  'fiery  whorl.'  When  this  was  written,  Goethe 
probably  intended  nothing  more  by  his  '  fiery  whorl '  than  to  intimate  (for 
the  benefit  of  the  reader  or  spectator)  that  the  dog  was  no  ordinary  dog. 
We  learn  further  on  (1.  1377)  that  fire  is  the  devil's  own  element.  Later, 
however,  the  poet  tried  to  fit  the  passage  into  an  optical  theory  of  his  to 
the  effect  that  dark  and  light  are  so  related  that  when  a  dark  or  bright 
object  comes  quickly  before  the  eyes  in  a  dim  light,  there  is  an  instantane- 
ous after-sensation  of  the  opposite  color.  He  himself  claims  to  have  seen 
a  trail  of  light  following  a  poodle  that  ran  by  his  window  at  dusk.  See  the 
Nachtrage  zur  Farbenlehre,  Werke,  H.,  XXXVI.,  517,  where  11.  1147-57 
are  quoted  and  said  to  have  been  written  down  cm8  bid)terifd)er  Sljnung 
and  in  '  semi-consciousness '  of  a  scientific  truth  which  he  was  able  in  due 
time  to  verify. 

1166.  Ijter  ;  =  hierfier,  the  converse  of  the  license  in  1.  943. 

1167.  pubelniimfd),    'poodle -silly';    i.e.,  having   the   characteristic 
silliness  of  poodles.     So  the  German  has  pubettreu,   '  faithful  as  a  dog,' 
pllbetliacft,  '  stark  naked,'  pilbelnafj,  '  wet  as  a  drowned  rat '  (wet  as  a  dog 
coming  out  of  the  water),  etc. 

1173.  ©eift ;  in  the  double  sense  of  'spirit  '=  'supernatural  being,' 
and  'spirit'  =  'intelligence.' 

1177.  bcr  Stubcntcn ©color.  Wagner  supposes  that  they  have 

found  the  trained  trick-dog  of  some  student.  —  ©color,  from  Lat.  scolaris, 
1  scholar,'  '  pupil,'  is  pedantic  (but  here  also  metri  gratia)  for  2d)iiliT. 


280  NOTES. 


r  (i). 

THERE  is  little  room  for  doubt  that  this  scene  also  combines  old  matter 
with  new,  though  no  portion  of  it  is  found  in  U.  or  Fgm.  The  lines  that 
relate  to  Faust's  flood-tide  of  religious  emotion,  to  the  closely  following 
ebb  and  the  consequent  resort  to  written  revelation,  suggest  the  youthful 
Goethe  and  correspond  to  phases  of  his  early  religious  feeling.  They  pre- 
suppose a  Faust  who  is  not  yet  prepared  for  an  utterance  like  that  in  1. 765. 
On  the  other  hand,  the  interjected  remonstrances  with  the  poodle,  the  con- 
juring, and  very  certainly  the  dialogue,  are  of  late  origin,  dating  probably 
from  the  year  1801.  Cf.  Intr.  p.  Ivii. 

The  hocus-pocus  of  the  scene  is  partly  invented,  partly  based  on  the 
legend.  C.  M.,  after  telling  how  Faust  had  evoked  a  spirit  in  the  woods 
at  midnight  and  secured  the  promise  of  a  visit  at  his  house  next  day,  pro- 
ceeds as  follows  (Scheible,  II.,  79)  :  '  Which  promise  likewise  the  spirit 
kept,  coming  to  the  house  at  noon,  after  long  and  anxious  waiting  on  the 
part  of  Faust,  and  posting  himself  in  different  positions  behind  the  stove; 
until  after  another  conjuration  by  Faust,  he  exhibited  a  human  head  and 
made  a  deep  bow,  refusing,  however,  to  come  further,  on  the  ground  that 
he  was  near  enough  already.  Whereat  Faust  is  said  to  have  become  wroth 
and  to  have  threatened  a  stronger  conjuration;  which  appeared  to  dis- 
please the  accursed  spirit,  seeing  that  he  at  once  became  obedient,  save 
that  he  caused  him  (Faust)  fresh  anxiety  when  he  beheld  the  room  full  of 
fire  and  the  spirit  with  the  aforesaid  human  head,  but  with  a  body  shaggy 
like  that  of  a  bear,  so  that  Faust  was  constrained  to  ask  him  once  more  to 
retreat  behind  the  stove.' 

1180.  nl)mtnrj)?»ollcm  ....  OJraitcn,  'bodeful,  solemn  sense  of  awe.' 

1181.  tterft.     The  subject  is  ttefe  Sftddjt.     After  Bebecft  supply  unb  — 
a  somewhat  harsh  asyndeton,  since  the  object  Me  is  not  repeated. 

1182.  tUtlbe  Xriebc,  'wild  impulses,'  e.g.,  the  desire  to  fly. 

1187.  fttjiuipcrft.  @d)nop(p)evn  is  the  same  as  fd)nob(b)ern,  and  akin 
to  fdjrtuffetn, '  sniff,'  '  snuffle.'  The  occasion  of  the  poodle's  snuffling  at  the 
threshold  is  explained  further  on,  11.  1395  ff. 

1200-1.     The  language  is  that  of  strong  religious  feeling,  and  the  inv 


NOTES.  281 

agery  is  biblical.  Cf.  Ps.  xxxvi.  9,  « For  with  thee  is  the  fountain  of  life '; 
Jer.  xv;i.  13,  'The  Lord  the  fountain  of  living  waters';  Rev.  xxi.  6,  'the 
foun  air  of  the  water  of  life.'  God  being  thus  the  fountain-head,  the 
'  brooics  of  life '  are  the  outflowing  streams  of  divine  peace. 

1212.  bet  ©tram;  the  stream  of  religious  peace  that '  wells  forth '  from 
his  own  soul.  Cf.  11.  568-9. 

1215.  btefer  2)iangel erfetjeit,  'this  failure  can  be  made  good.' 

The  thought  is,  that  when  the  spontaneous  inner  spring  of  religious  feeling 
begins  to  run  low,  then  we  turn  for  compensation  to  the  supernatural,  to 
formal  written  revelation. 

1220.    ©ruttbtegt,  'the  fundamental  text,'  i.  e.,  the  Greek  original. 

1224-37.  The  question  here  turns  upon  the  proper  rendering  of  the 
word  Aoyof  in  John  i.  I  (ev  apxv  ijv  6  Aoyof),  as  that  which  '  was  in  the  be- 
ginning '  and  '  by  which  all  things  were  made.'  Faust  argues  that  a  '  word' 
can  not  have  been  '  in  the  beginning,'  because  a  word  is  the  expression  of 
a  'thought,'  which,  therefore,  must  have  come  first^  But  thought  can  not 
have  made  the  world,  there  must  have  been  '  power,'  and  yet  power  is 
nothing  unless  it  is  put  forth  in  a  '  deed.'  He  is  thus  brought  around  to 
the  position  of  Gen.  i.  I,  which  puts  a  '  deed '  of  creation  at  the  beginning. 
Strictly  he  should  reject  this  also,  for  a  'deed'  implies  a  doer. 

1244.    bic  3cUe  BteibCtt,  'leave  the  room.' 

1249.    Sdjdttett,  'phantom,'  'unreal  apparition.' 

1256.  ^n  6ift  Dtir  gcttJtfj,  '  I'm  sure  of  you,'  '  I  can  manage  you,' 
'  you're  my  game.' 

1257.  f)0fbc  ^iJUettbrut,  '  semi-infernal  progeny.'    Faust  assumes  that 
the  being  before  him  is  of  a  mixed  order,  partaking  somewhat  of  the  in- 
fernal nature,  but  without  being  a  full-fledged  spirit  of  hell.     He  decides 
therefore  to  try  first  a  spell  of  minor  potency. 

1258.  Salomonti*  Sdjliiffd.     'Key  of  Solomon,'  Clavicula  Salomo- 
nis,  is  the  name  of  a  conjurer's  book  containing  spells  and  directions  for 
the  evocation  and  exorcism  of  spirits.     Saga  makes  the  wise  Solomon  a 
magician. 

1258+.  ©Ctftcr.  A  supernatural  chorus  of  spirits,  minions  of  Me- 
phistopheles,  who  have  come  to  help  their  imprisoned  master,  if  opportu- 
nity offers. 

1260.   Ijaufjen  =  Ijie  aufjen. 


282  NOTES. 

1262.    jagt,  'lingers  in  dismay.' 

1271.  begcgttcn,  'to  meet,'  i.  e., '  to  deal  with.' 

1272.  (Sprud)  bet  SBiere,  ' formula  of  the  four'  elements,  earth,  air, 
fire,  and  water;  i.  e.,  a  formula  intended  for  dealing  with  an  elemental 
spirit. 

1273-6.  Faust  here  reads  or  recites  from  the  '  Key.'  Salamanders  are 
spirits  of  fire,  undines,  or  undenes,  of  water,  sylphs  of  air,  and  kobolds  of 
earth.  The  meaning  is  that  a  salamander  should  manifest  his  true  nature 
by  glowing  like  fire,  an  undine  by  making  a  sinuous  motion  of  swimming, 
like  a  fish  or  a  mermaid,  a  sylph  by  vanishing  in  air,  a  kobold  by  making  a 
show  of  being  at  work.  (The  kobolds  are  subterraneous  busy-bodies, 
Eng.  'gnomes.)' 

1277-82.  Faust  soliloquizes,  congratulating  himself  upon  his  knowl- 
edge of  elemental  spirits. 

1283-91.  The  first  having  had  no  effect,  Faust  recites  a  second  'for- 
mula of  the  four/  differing  somewhat  from  the  other  and  presumably  more 
potent  as  being  in  more  mandatory  form. 

1285.     JHaufdjCJtb,  'with  a  gurgling  sound,'  like  that  of  flowing  water. 

1289-90.  If  the  spirit  is  one  whose  character  it  is  to  'be  busy,' 
he  is  to  make  the  motions  of  helping  about  the  house-work.  The  Romans 
gave  the  name  incubus,  or  incubo,  both  to  the  nightmare  and  to  the  mali- 
cious sprite  supposed  to  cause  it  by  resting  upon  (incumbere)  his  sleeping 
victim.  Later,  the  name  was  applied  to  house-spirits  without  regard  to 
this  malicious  propensity,  and  in  that  sense  came  near  to  the  German  ko- 
bold, which  might  also  be  a  house-spirit.  Whence  the  substitution  of  In- 
cubus for  the  $obotb  of  the  first  formula. 

1291.     @d)lltf?,  'end';  viz.,  of  the  disguise. 

1295.  SEBety.  Since  the  spirit  does  not  wish  to  come  out  of  his  dis- 
guise, any  thing  that  compels  him  to  do  so  may  be  said  to  '  hurt '  him. 

1300.  bie3  ^cidjClt;  a  conjurer's  diagram  (cf.  1.  429-!-,  note)  contain- 
ing a  symbol  of  Christ. 

1306.  me  (Smtfproffttett, 'never-born';   i.  e.,  eternal. 

1307.  ltuttltviicfurocl)iteit,  'ineffable.' 

1308.  ^lltd)  ....  ©Cgoff  ttClt,    'diffused  through  all  space';    i.  e., 
omnipresent. 

1309.  2fre&etUlidj  2)urd)ftod)nett,  '  wantonly  pierced  '  (John  xix,  34). 


NOTES.  283 

1319-     $>H# fitdjt.    The  'trebly  glowing  light '  is  a  sign  of  the 

Trinity;  perhaps  a  triangle  with  divergent  rays  symbolizing  the  'holy 
flame '  of  divine  love,  which  will '  burn '  the  devil,  as  do  the  roses  of  divine 
love  in  11.  11710  ff. 

1321+ .  fdljrettber  ©ifyolaftiCttS,  'traveling scholar';  i. e., scholastic™ 
vagans,  a  name  given  in  the  Middle  Ages  to  the  vagabond  students  who 
traveled  from  one  university  to  another  and  lived  by  their  wits. 

1322.  28o£  ftcljt  . .  . .  XicitftCtt,  'what  does  the  gentleman  want'? 
2)em  §errtt  is  a  polite  circumlocution  for  eud),  a  use  of  §ert  which  was 
common  in  the  1 7th  century,  as  it  still  is  in  Swedish.  See  Grimm,  Wb., 
under  §err. 

1326.  Wetbltrf),  'vigorously.'  The  sense  is:  You've  made  it  lively 
for  me. 

1328.     $er  ....  DCrat^tct;  in  allusion  to  1.  1226. 

1330.  XtCfC  ....  trucfjtet,  'delves  into  the  depths';  Xiefe  being  ace. 
Strehlke  Wb.,  gives  the  meaning  of  tradjtet  more  exactly  as  fldj  Bemiibt, 
bort  hinein  gu  gelangen. 

1331-  23ei  ....  4?errttf  '  in  case  °f  you  (infernal)  gentlemen.'  Faust 
knows  that  he  has  to  do  with  a  devil,  since  it  was  the  holy  symbols  that 
brought  him  to  terms. 

1334-  3?KegettflDtt,  Serber&er,  fifigner.  The  first  translates  Beelze- 
bub, the  name  of  a  Philistine  god  worshiped  at  Ekron.  The  name  means 
'lord  of  the  fly,'  the  god  having  been  probably  at  first  an  averter  of  insect- 
pests,  like  the  Greek  Zetif  anopvtof.  In  some  MSS.  of  the  New  Testament 
the  name  is  given  to  Satan,  the  prince  of  devils.  SSerberber  translates 
Apollyon  (AiroA&iiuv),  the  '  Destroyer '  of  Rev.  ix.  1 1,  where  it  is  Greek  for 
the  Hebrew  Abaddon.  Jiigner  is  not  a  translation  of  any  devil's  name, 
but  in  John  viii.  44,  we  read  that  '  the  devil  is  a  liar  (ipevarr/f)  and  the 
father  of  it '  (i.  e.,  of  lying) . 

1336.  Mephistopheles  means  that  in  doing  what  men  call  'the  bad' 
(cf.  11.  1342-3)  he  is  doing  what  is,  in  his  own  opinion,  a  good  and 
rational  work.  He  must  by  no  means  be  understood  as  admitting  that  his 
mischief-making  is  overruled  for  good  by  a  higher  power. 

1347.  bte  HcittC  SRorrettttiett,  'the  little  fool-world';  a  humorous 
transposition  of  bie  ttdrrijdje  Sleintrjelt,  '  the  foolish  little-world,'  '  the  silly 
microcosm,'  i.  e.  man. 


284  NOTES. 

1349-52.  Mephistopheles  here  speaks  as  Prince  of  Darkness,  a  quality 
which  he  derives  from  the  Persian  Angra-Mainyus,  or  Ahriman.  Cf.  Intr. 
p.  Ixxv. 

1353-8.  The  argument  is :  Light  has  no  original  independent  exist- 
ence of  its  own,  being  a  mere  parasite  of  '  bodies.'  (Light  is  manifested 
only  in  connection  with  bodies  that  emit  or  receive  it.)  But  bodies  are 
destined  to  dissolution.  The  final  result  must  be,  therefore,  that  light  will 
perish,  leaving  primeval  darkness  in  possession  of  the  field. 

1354-    S5erl)aftet  Hcbt,  '  cleaves  fast.' 

1360.    tm  ©rofteit,  '  on  a  grand  scale.' 

1364.  plltntpe,  '  clumsy.'     Mephistopheles  has  no  eye  for  the  world  as 
a  cosmos. 

1365.  fo   Did  ....  untcrnommett,    '  much   as   I   have   already   under- 
taken,' i.  e.,  in  spite  of  all  my  past  exertions. 

1366.  tljt  betSttfotmttett,  '  to  affect  it,'  'to  do  it  any  harm.'     3br  re- 
sumes the  antecedent  part  of  ft)a§  in  1.  1363,  but  takes  the  gender  of  SBelt. 

1368.  ($eruf)tg  ;  =  rufitg. 

1370.    beitt anjufya&en,  '  there's  no  getting  the  better  of  it.' 

1374.    $er  Sttft;  dat.  of  separation  with  jtd)  entttnitben,  '  start  forth.' 
I377-    SffoBlttte.     Onty  in  the  fire  does  no  life  exist.     Mephistopheles 
can  ignore  salamanders,  for  they  are  of  his  household. 
1378.     2Ipart§;  adj.  from  Fr.  a  part,  'apart,'  'private.' 
1382.    ttcrgcbcit'J  ....  fcoflt, '  clenches  with  vain  malignity.' 
1386.    2>te  ttiJd)|tenmale,  '  on  future  occasions.'     Mephistopheles  as- 
sumes already  that  they  are  to  see  more  of  each  other,  but  '  this  time,'  for 
some  unexplained  reason,  he  wishes  to  be  excused.     Cf.  the  introductory 
note  to  the  next  scene. 

1392.  @in  ....  getwfj,  '  a  chimney  is  also  a  sure  reliance  for  you.' 

1393.  @efteV  td)'3  Itltf,  'just  let  me  confess';   imperative  subjunc- 
tive.    Cf.  Brandt,  §  284,  I. 

1395.  ^rubettfttfi,  'drude's  foot ';  a  magical  symbol  in  the  shape  of 
a  five-point  star  (pentagram,  pentalpha),  designed  to  keep  away  evil 
spirits.  The  drude  of  German  mythology  was  a  female  incubus  or  night- 
mare that  injured  people,  especially  children,  in  their  sleep.  (Later,  the 
name  became  =  Hexe  or  Unhold.)  To  keep  her  off,  the  magic  pentagram 
was  carved  or  painted  on  the  cradle,  bedstead  or  threshold.  As  the  drude 


NOTES.  285 

had  swan's  feet,  the  pentagram  was  called  '  drude's  foot,'  from  the  resem- 
blance to  her  footprints.  Cf.  Grimm  Wb.,  II.,  1454-5.  The  Pythagorean 
pentagram,  says  E.  B.  Tylor,  is  a  '  magic  symbol  still  to  be  seen  in  every 
country  from  Ireland  to  China.' 

1404.  imirft  bentt  bit,  '  can  it  be  then  that  you  are? '     Dubitative  sub- 
junctive.—  The  efficacy  of  the  pentagram  depends  on  the  perfect  closure  of 
the  angle  that  is  presented  to  the  spirit. 

1405.  btt£  ift  . . . .  gellingett,  '  that's  a  lucky  accident.'     The  thought 
is  the  same  as  in  1.  1403,  but  that  refers  to  the  imperfection  in  the  penta- 
gram, this  to  its  effect  in  imprisoning  the  devil. 

1413.  5Red)tef  Maws.' 

1416.  rein,  ' undiminished,'  'in  full.' 

1417.  dbgejttiaift, 'nipped  off,'  'subtracted.' 

1418. '  bo3  ift $tt  fttffCtt,  'that  (i.  e.,  such  an  inviolable  agreement) 

is  not  to  be  dispatched  so  quickly.'  For  the  use  of  fdffen,  cf. :  3d)  ttierbe 
mid)  furj  faff  en,  '  I  shall  be  brief;  ber  33rief  ijt  fur$  jit  faffen, '  the  letter 
is  to  be  made  short.' 

1420.  btttT  id)  . . . .  fyiJdjft,  '  I  really  do  entreat  you.'  The  adverb  bod) 
Itttb  bod)ft  has  the  force  of  a  superlative  to  fetjr  in  id)  bitte  febr.  It  is  of 
very  rare  occurrence. 

1423.  mir  ....  fdgen,  'to  tell  me  the  news.'  ©lite  SKabr',  M.  H. G. 
guotiu  nicer,  lit.,  '  good  tidings,'  is  a  stereotyped  phrase  for  the  entertain- 
ing '  news '  a  visitor  may  have  to  relate. 

1438.    (Jincrlct,  '  monotonous  round.' 

1441.  leered  3auberft«el,  'empty  trick  of  magic.'  The  meaning  is 
that  Faust  will  not  only  hear  the  music  of  the  spirits,  but  will  see  the  pic- 
tures they  describe,  smell  the  grapes,  taste  the  wine,  and  experience  a  sen- 
suous ecstasy. 

1445.    DorUtt,  'in  advance';   here  =  ttorljer. 

1446-)-.  ©eifter;  the  same  spirits  as  in  1.  1258+.  The  opportunity 
they  have  been  waiting  for  (11.  1264  ff.)  has  now  come.  Their  song  is  an 
@injd)ltiferung§Heb,  or  '  lullaby.'  They  put  Faust  asleep  with  their  music, 
and  at  the  same  time  conjure  before  his  vision  a  series  of  entrancing  pic- 
tures that  melt  together  like  the  visions  of  a  dream.  What  they  sing  he 
sees  while  sinking  into  a  dreamy  trance.  As  the  magic  takes  effect,  the 
walls  of  the  dingy  study  seem  to  vanish  and  he  is  under  an  open  sky  of 


286  NOTES. 

supernatural  loveliness.  The  air  fills  with  hovering  angels,  and  the  land- 
scape becomes  a  great  vineyard,  with  pensive  vintagers  exchanging  love- 
vows  among  the  vines.  From  numberless  wine-presses  rivulets  of  wine 
fall,  broaden  to  rivers  and  flow  away  toward  the  '  isles  of  the  blest,'  whence 
come  sights  and  sounds  suggestive  of  boundless  happiness. 

1448.  SJBolfuntgctt;  the  vaulted  ceiling  of  Faust's  Gothic  study   (cf. 

I-  353+)- 

1449.  WciftCttber;  not  'more  charming'  than  the  'arches,'  for  they  are 
not  charming  at  all  (cf.  11.  6928  ff.).     The  comparison  is  between  the  be- 
clouded sky,  as  it  appears  at  first,  and  the  blue  ether. 

1455.  2J?ilbere,    'milder,'    i.  e.,  shining  with  a  softer  light  than  the 
natural  sun.     These  suns  do  not  hide  the  stars. 

1456.  botcin;  'in' upon  the  scene;   not  here  =  barilt. 

1459-  23eugUltg;  a  loose  appositive  to  @d)otte.  The  angels,  as  they 
float  past,  seem  to  bend  over  the  dreamer  as  they  hover  above  him,  exciting 
in  him  a  longing  to  follow  them. 

1482.  (^cititflCn,   'satisfaction,'  'delight.'     '  About  the  delight  of  ver- 
dant hills '  =  about  the  delightful  verdant  hills.     So  Grimm  Wb.,  IV., 
3512.    Strehlke's  urn  tie  geniigenb  tior&anbenen  §iiget  is  too  tame. 

1483.  Wcftiigcl;  the  birds  in  the  air.    A  sip  of  the  wonderful  wine 
sends  them  away  in  an  ecstatic  flight  toward  the  source  of  all  blessedness. 

1487-8.    fyellett  $nfellt,  'the  bright  isles';   i.  e.,  the  isles  of  the  blest. 

1490.   Woitflcitb,  '  moving  up  and  down,'  in  rhythmic  spell. 

1505.  .£wlb;  gen.  dependent  on  §eme.  As  Faust's  vision  ends  in 
dreamless  sleep,  and  the  figures  pass  from  his  view,  they  seem  to  be  moving 
off,  in  their  several  ways,  toward  the  far-away  stars,  which  are  for  them 
sources  of  life,  love  and  gracious  protection. 

1516—7.  Folk-lore  associates  the  devil  with  pestiferous,  ugly  and 
uncanny  animals,  especially  those  of  nocturnal  habits. 

1522.  bttUltte.  The  tense  refers  back  to  1.  1393.  The  'point'  really 
'confines'  him  still,  until  the  rat  has  done  its  work.  Cf.  note  to  1.  1404. 

1525.  J^-auftc;   the  Lat.  vocative,  used,  as  in  the  puppet-plays,  with  a 
touch  of  humor. 

1526.  abettttdld,  '  again ';   his  first  disappointment  was  with  the  Earth- 
Spirit.  • 

1527.  ber  flciftcrrctdjc  'Strung  =  ba«  retcfce  (jablreicfce)  ©ebrdnge  bet 


NOTES.  287 

viz.,  those  he  has  just  seen  in  his  vision.  The  meaning  of  the 
somewhat  obscurely  phrased  thought  in  11.  1527-9  seems  to  be:  Was 
there  no  reality  behind  all  this  except  a  dream  and  the  actual  escape  of  * 
poodle-dog  ? 


©tubtrjimmer  (2). 

This  scene,  taken  in  connection  with  the  preceding,  suggests  certain 
dramaturgical  questions.  The  main  object  of  the  preceding  scene  is  of 
course  to  pave  the  way  to  the  compact.  Why,  then,  when  Mephistopheles 
has  come  on  purpose  to  find  an  opportunity  to  lead  Faust  '  in  his  way '  (1. 
314),  should  he  suddenly  assume  (1. 1387)  the  role  of  reluctant  prisoner 
and  in  the  same  breath  (1.  1386)  take  it  for  granted  that  he  and  Faust  are 
to  meet  frequently,  when  he  has  not  yet  been  invited  to  come  again  ?  And 
when  the  subject  of  a  compact  is  brought  up,  why  should  he  be  eager  to 
postpone  it  (1. 1420)  and  beg  to  be  excused  for  this  time  without  giving 
any  reason  for  his  desire?  Why  should  he  resort  to  a  trick  to  effect  his 
release  and  then  voluntarily  return?  And  since  Faust  is  perfectly  willing 
that  he  should  go  (11.  1390-3),  why  the  elaborate  hocus-pocus  of  the  pen- 
tagram, the  lullaby  and  the  rat? 

Add  to  this  the  fact  that '  Study '  (2)  assumes  all  along  that  Faust 
and  Mephistopheles  are  old  acquaintances.  Mephistopheles  knocks  like 
any  ordinary  visitor  and  assumes  a  familiar  hectoring  tone  (1. 1531).  Faust 
recognizes  the  knock  and  concludes  that  he  is  to  be  'plagued  again,' 
though  we  have  heard  of  no  plaguing  before.  He  submits  to  the  teasing 
like  one  accustomed  to  such  nonsense,  and  is  not  in  the  least  surprised  to 
see  his  visitor.  Nothing  is  said  about  the  trick  that  had  so  strangely  ended 
their  recent  interview.  Mephistopheles  knows  that  Faust  is  subject  to  the 
•blues'  (1.1534),  and  has  come,  dressed  as  a  gay  young  squire,  to  drive 
them  away.  But  in  the  preceding  dialogue  Faust's  characteristic  ©riHen, 
as  we  know  them,  do  not  appear;  his  talk  is  sober  and  sensible.  Mephis- 
topheles knows  of  Faust's  having  meditated  suicide  (1. 1580).  Each  has 
definite  and  particular  knowledge  of  the  other's  character  and  ways.  Faust 
knows  what  kind  of  diversions  the  devil  will  have  to  offer  (11.  1678  ff.).  It 


288  NOTES. 

is  assumed  (1.  1 746)  that  Mephistopheles  knows  about  the  Earth-Spirit  as 
a  being  of  rank  superior  to  his  own.  The  devil  is  perfectly  familiar  (11. 
1835  ff.)  with  Faust's  professional  life. —  In  short,  one  can  hardly  read  the 
scene  without  feeling  that  the  author  of  it  must  have  had  in  view  a  Faust 
and  a  Mephistopheles  who  have  had  much  more  to  do  with  each  other 
than  is  now  provided  for  in  the  text. 

The  explanation  is,  no  doubt,  that  the  substance  of  '  Study '  (2)  took 
shape  before  'Study'  (i)  was  written.  We  have  seen  already  that  the 
early  plan  contemplated  a  number  of  pictures  occupying  the  interval  be- 
tween the  poodle's  first  appearance  and  Faust's  abandonment  of  his  pro- 
fessorship. 'Study'  (2),  but  without  the  compact  as  we  now  have  it, 
was  conceived  on  the  presupposition  that  a  friendly  relationship  between 
Faust  and  Mephistopheles  has  been  for  some  time  established.  It  assumed 
that  the  devil  has  the  entree  of  Faust's  house,  has  become  familiar  with  his 
master's  life,  character  and  pursuits,  and  has  had  an  opportunity  to  exhibit 
his  '  arts.'  Then,  one  day,  he  comes  as  gay  young  squire  and  persuades 
Faust  to  give  up  the  scholar's  life  and  '  see  the  world.' 

Again :  In  the  early  plan  Faust  was  thought  of  as  constraining  the 
reluctant  devil  to  his  service  by  the  power  of  magic,  and  the  devil  was  a 
tormentor;  while  in  the  revised  plan  of  1797  Mephistopheles  was  to  come 
to  Faust  of  his  own  accord  and  be  a  seducer.  Cf.  Intr.  p.  Ix. 

Now  what  we  have  in  the  latter  part  of  '  Study'  (i)  is  an  attempt  to 
blend,  as  well  as  might  be,  these  contradictory  conceptions  and  to  provide 
the  necessary  presuppositions.  The  poet  cuts  the  Gordian  knot  by  simply 
letting  both  parties  assume  (11.  1385-92),  without  obvious  grounds  on 
either  side,  that  they  are  to  be  familiar  friends,  and  then  imputing  to  Me- 
phistopheles a  capricious  desire  to  be  '  excused  for  this  time,'  in  order  that 
an  occasion  may  be  provided  for  an  exhibition  of  his  '  arts.' 

In  making  this  adjustment,  Goethe  doubtless  calculated  that  people 
would  not  scrutinize  too  closely  the  motives  of  the  devil,  or  wonder  much 
at  his  knowing  things  that  a  common  mortal  in  his  position  would  not 
know.  Moreover,  his  sudden  desire  to  be  excused  might  be  construed  as 
due  to  a  feeling  on  his  part  that  Faust's  religious  mood  was  unfavorable  to 
the  tempter's  purposes.  Then,  too,  the  lullaby  might  be  taken  as  a  dia- 
bolical lure  pointing  to  the  pleasures  of  time  and  sense. 


NOTES.  289 

1535.  Cblct  ^littler,  '  noble  squire.'    In  introducing  the  devil  as  a  gay 
cavalier,  Goethe  follows  the  popular  Faust-drama.     Creizenach,  p.  143, 
conjectures  that  the  practice  began  in  Catholic  Vienna,  where  the  devil  as 
monk,  in  accordance  with  the  original  legend,  would  not  have  been  accept- 
able.   But  3itnfer  Seiifel,  Suttfer  ©atari,  etc.,  are  found  even  in  Luther 
and  his  contemporaries. 

1536.  iHeibe,  '  coat.' 

1546-7.  The  thought  is:  I  am  too  old  to  enter  upon  a  frivolous  world- 
tour  as  man  of  fashion,  and  too  young  to  have  reached  the  apathy  of  age; 
I  have  desires  which  I  know  that  the  '  world '  can  not  gratify. 

1549.  @ttt6c^rett  follft  bit,  'thou  shalt  do  without.'  When  Faust's 
'  confusion  '  is  cleared  up,  he  will  learn  to  meet  this  '  eternal  song '  with  a 
voluntary  renunciation  of  the  things  one  must  '  do  without.'  Cf.  11. 1 1441  ff. 

J559-  eigettftttttigettt  Srittel,  'peevish  caviling.'  Grimm,  Wb.,  V., 
2338,  states  that  the  word  occurs  here  for  the  first  time  in  German  litera- 
ture. Schroer  thinks  that  Goethe  may  have  got  the  term  from  Fraulein 
von  Klettenberg,  who  is  known  to  have  used  it  in  the  form  $ritttel. 

1561.  Seliett^fraijett,  'goblins  of  life';  the  petty  cares  and  annoy- 
ances of  daily  existence,  that  disturb  and  irritate  one,  destroying  the  seren- 
ity of  the  mind,  and  rendering  productive  work  impossible.  These  trials 
are  conceived  as  tormenting  goblins.  That  this  is  the  meaning  of  the 
word  appears  from  Eckermann,  III.,  162:  'On  the  Second  Part  of  my 
Faust  I  can  work  only  in  the  early  hours  of  the  day  ....  when  the  goblins 
of  daily  life  (bte  Srafeelt  &e$  taglidjen  SebenS)  have  not  yet  confused  me.' 

1562-5.     Seemingly  a  reminiscence  of  Job  vii.  13-14. 

1569.    ttfld)  OUfjett,  'outwardly,'  'in  the  outer  world.' 

1573-8.  The  theme  is :  Happy  he  who  dies  in  some  moment  of  su- 
preme excitement. 

1583.  Q5enmt)Ic,  'frenzy.' 

1584.  fflj?  bcfonnter  £on;  the  Easter  music. 

1588.  £o«f=  ttttb  ©aufdWCrf,  'alluring  jugglery.'  The  ideals  that 
men  pursue  appear  to  Faust  in  his  bitterness  like  pleasing  phantasms  that 
'  confine '  the  soul  in  this  '  cave  of  gloom '  because,  were  it  not  for  them, 
we  should  voluntarily  leave  it. 

1591.  f}ot)C  sUJctUUltg  ;  man's  high  opinion  of  his  own  worth  and 
destiny. 


290  NOTES. 

1595.    WttS  ....  hcurfjelt,  'what  cheats  us  in  dreams.' 

1604.    jeiter ;  in  the  sense  of  Lat.  ille,  '  that  well  known.' 

1607-26.  A  difficult  and  much  disputed  passage,  the  question  being 
whether  the  spirits  are  good  or  bad.  If  they  are  bad,  why  do  they  '  mourn 
over  lost  beauty'?  If  good,  why  does  Mephistopheles  claim  them  in 
1.  1 628  ?  Probably  the  dilemma  is  best  met  in  this  way :  Goethe  imagines 
an  order  of  spirits  whose  function  it  is,  when  there  is  an  act  of  destruction, 
to  bear  the  remains  of  that  which  was  over  into  the  realm  of  that  which 
is  not.  As  attendants  upon  the  work  of  destruction,  they  are  in  one  sense 
minions  of  the  destroyer;  at  the  same  time  they  are  not  in  sympathy  with 
destruction,  but  are  rather  nature's  pall-bearers  and  mourners  at  the  funeral 
of  beauty.  They  do  their  work  while  deploring  the  occasion  of  it.  So 
Faust's  curse,  involving  as  it  does  a  complete  break  with  the  moral  order, 
is.  construed  as  a  destruction  of  the  world  of  beauty.  The  little  sprites 
bewail  the  act  and  pray  him  to  make  good  the  damage  by  rebuilding  the 
beautiful  world  in  his  own  breast.  This  he  can  do  by  recovering  his  faith 
in  life  and  in  ideals  of  life. 

1612.  ^gwlbgott,  '  demigod.'  To  the  '  little  ones '  the  deed  of  Faust  is 
like  that  of  a  Hercules  with  his  club. 

1614.  Sritmntent ;  usually  Sriimmer  as  plurale  tantum  from  ba8 
£rum.  But  the  fern,  sing.,  bie  Sriinttner,  is  very  common,  and  the  weak 
plu.  Sriimmern  not  rare. 

1619.  ^JrSdjttgCr;  factitive  predicate  with  fie.  'Mighty  son  of  earth, 
rebuild  it  more  splendid.' 

1625.    Steber;  i-  e.,  songs  of  congratulation  on  the  part  of  the  spirits. 

1629-34.  Mephistopheles  deliberately  perverts  the  counsel  of  the  spirits 
in  11.  1622-3.  The  '  new  course  of  life  '  they  would  have  Faust  '  begin '  is 
a  change  of  heart,  of  moral  attitude.  But  Mephistopheles  distorts  their 
meaning  into :  Give  up  the  professor's  life  and  try  the  world. 

1633.  2B0  ....  ftorfcn, '  where  senses  and  juices  stagnate ';  i.  e.,  where 
the  senses  and  the  blood  become  torpid. 

1640.  ^Sttrf,  'rabble.' 

1641.  fetttCr  Don  ben  ©tofcen,   'none  of  the  great  ones,'  i.  e.,  only  a 
subordinate.      Such  was  in  fact  Goethe's   early  conception  of  Mephis- 
topheles. 

1647.  tnad)T  id)  btr'3  «djt,  'if  I  suit  you.' 


NOTES.  291 

1652.  urn  ©otteSttJtHen,  'gratuitously.' 

1661.  Sdjlfigfit  btt  .  . .  .  Sritmmern,  'when  you  first  demolish  this 
world,'  i.  e.,  the  present  earthly  life.  The  end  of  life  is  conceived  as  an 
act  of  world- demolition;  cf.  11.  1608  ff. 

1665.  5iantt.  The  verb  has  a  strange  sound,  since  it  seems  to  imply 
that  Faust  is  anxious  to  end  his  earthly  life,  joys,  sorrows  and  all  (for  ibnen 
can  not  well  refer  to  Setbeit  exclusively) ,  whereas  the  connection  requires 
the  line  to  mean  simply :  '  When  I  have  done  with  this  world.'  Unless 
we  resort  to  Diintzer's  too  easy  solution,  that  fann  is  a  misprint  for  tltll§, 
foil  or  loerb',  we  shall  have  to  regard  fann  id)  erjl  as  used  loosely  for  bin 
icf)  ittt  @tanbe,  '  when  I  am  in  a  position,'  '  when  the  time  comes.' 

1667-70.  Logically  Faust's  indifference  to  the  life  beyond  is  out  of 
place  in  a  dialogue  with  the  devil.  What  we  really  hear  in  these  lines, 
however,  is  the  youthful  Goethe  arguing  in  the  tone  of  his  time  against  the 
religious  Jenseitigkeit,  which  busies  itself  with  curious  speculations  about 
the  life  to  come.  It  is  noteworthy,  however,  that  the  Faust  of  the  legend 
is  at  the  same  time  intensely  curious  about  hell  and  its  denizens,  and  a 
skeptic  with  regard  to  the  existence  of  hell.  Cf.  Intr.  pp.  xiii,  xiv. 

1678.  £!0dj  fjttft  btt,  '  but  you  have,  haven't  you? '  With  the  question- 
mark  after  1.  1685,  11.  1678-85  must  be  read  with  a  sarcastic  rising  inflec- 
tion. Faust  rehearses  ironically  the  stock-in-trade  of  jugglers'  tricks  with 
which  he  assumes  that  Mephistopheles  will  try  to  amuse  him :  sham  food, 
illusory  liquid  gold,  sleight-of-hand  gambling  games,  and  phantasms  of 
love  and  glory.  It  is  worth  noting  that  Mephistopheles  does  actually  pur- 
vey the  most  of  these  pleasures.  Thus  we  have  sham  wine  in  1.  2291, 
sham  gold  in  11.  5711  ff.;  while  Faust  as  husband  of  Helena  and  transient 
king  of  Arcadia  gives  us  the  phantasms  of  love  and  honor. 

1686-7.  3C*8T-  The  mood  is  sarcastic:  'Come  now,  show  me  your 
wonderful  trees,'  etc.  In  C.  M.  (Scheible,  II.,  84)  we  read  that  '  Faust's 
pleasure-garden  was  almost  like  paradise;  for  the  foliage  and  grass,  min- 
gled with  all  sorts  of  trees,  kept  green  the  whole  year  long.  The  trees  too 
would  suddenly,  in  a  moment,  put  forth  fruit  different  from  their  natural 
fruit.' 

1691.  V>a§  ©ttt£,  'something  good';  i.  e.,  something  really  satisfying 
and  not  a  mere  sham  or  phantasm. 

1692.  Jydlllbett,  '  bed  of  ease,'  '  lazy  couch  ';    '  Laying  one's  self  upon 


292  NOTES. 

a  bed  of  ease '  is  a  symbol  of  perfect  satisfaction  with  the  egoistic  pleasure 
of  the  moment. 

1694.    ttttd)  ....  liclugcit,  'beguile  me  with  blandishments.' 

1698.  £op,  'agreed';  usually  £opp. —  ©djlttg  Oltf  ©djtofl  means 
'  shake  again.'  Faust  offers  his  hand  twice. 

1700.  JBertteUe  bod),  '  pray  tarry.'  Faust  uses  these  words  in  1.  11582, 
but  not  to  the  passing  moment  and  not  while  stretched  upon  a  '  bed  of 
ease.'  —  On  the  compact,  cf.  Intr.  pp.  Ixxi,  Ixxii. 

1705.  bet  3ctgcr  fatten.  Some  of  the  early  water-clocks  were  so 
constructed  that  the  hour-pointer  would  rise  steadily  along  a  bar  for 
twenty-four  hours  and  then  drop  back.  The  'falling  of  the  hand '  thus 
marked  the  end  of  a  fixed  period. 

1710.  2Bie  id)  beljom,  =  fobalb  id)  befiarre,  'as  soon  as  I  stagnate' 
—  I  am  a  slave  anyway,  i.  e.,  no  longer  a  free,  self -determining  man. 

1712.  *£oct0rfd)mnu£  ;  the  supper  given  by  a  student  on  taking  his 
doctor's  degree.  As  the  text  stands,  we  are  left  to  imagine  the  scene;  but 
in  Par.  p.  1 1  ff .  we  find  a  sketch  of  a  doctoral  disputation,  which  would 
naturally  have  been  followed  by  a  @d)mttU§.  This  was  one  of  the  profes- 
sional scenes  at  one  time  contemplated  by  Goethe  and  then  dropped;  for 
the  reason,  probably,  that  a  third  episodical  picture  of  university  life  (in 
addition  to  the  Wagner  dialogue  and  the  student  scene)  appeared  unneces- 
sary. Or  perhaps  he  found  that  the  scene  did  not  work  out  well. 

1714.  Ultt  ....  ttliHett;  a  formula  used  in  asking  for  a  written  agree- 
ment, and  meaning,  according  to  Grimm  Wb.,  VI.,  417,  fiir  aCe  ffiQt,  *•  e'» 
'  to  provide  for  all  contingencies,'  '  to  guard  against  accidents.' 

1716—30.  The  logic  of  this  difficult  passage  seems  to  be  this :  The 
word  of  a  man  is  as  good  as  his  bond.  It  is  indeed  strange  that  we  should 
be  held  to  our  course,  in  the  tempestuous  flood  of  this  life,  by  so  slight  a 
thing  as  a  promise,  but  so  it  is.  This  curious  notion  of  honor  is  implanted 
in  us,  and  I  have  no  desire  to  be  rid  of  it.  It  pays  to  follow  it  at  any  cost. 
But  most  men  reverence  a  formal  document;  very  well,  then,  how  will  you 
have  it  ?  —  The  formal  written  agreement  is  made  much  of  in  the  Faust- 
books,  in  Marlowe,  and  in  the  puppet-plays.  So  also  Faust's  honesty  is 
emphasized.  An  Erfurt  legend  (Scheible,  V.,  488)  makes  a  certain  monk 
named  Klinge  endeavor  to  convert  him  at  the  last,  promising  to  say  mass 
for  him.  Faust  replies :  '  Mass  begone  !  . . . .  The  devil  has  honestly  kept 


NOTES.  293 

his  word  with  me,  and  so  I  will  also  keep  my  word  and  written  agreement 
with  him.'  Whereat  Scherer,  Faust-Buch,  p.  xn,  is  reminded  of  the  saying 
of  Tacitus :  '  So  great  even  in  a  bad  cause  is  German  tenacity.  They  them- 
•  selves  call  it  fidelity.' 

1719.    fd)altcn  (mit),  'govern,'  ' be  a  law  unto.' 

1722.  btefcr  2BflI)H,  'this  strange  conceit';  i.  e.,  this  sense  of  honor, 
of  £reue. 

1728.  (£)a§  SBott ....  ^feber,  'the  word  dies  in  the  very  act  of  writ- 
ing.' The  somewhat  fanciful  thought  is,  that  when  an  agreement  is  '  re- 
duced to  writing,'  the  seat  of  potency  is  at  once  transferred  in  the  minds 
of  men  from  the  impalpable  word  of  honor,  where  it  ought  to  be,  to  the 
parchment  on  which  it  is  written  and  the  wax  with  which  the  document  is 
sealed. 

1737.  £rityfrf)eit  23lttt.  So  in  the  legend  and  the  puppet-plays;  but 
the  custom  of  confirming  solemn  agreements  with  blood  is  much  older  than 
the  Faust-legend.  Loeper  says  that  its  use  in  compacts  with  the  devil  is 
a  parody  of  the  blood  in  the  Christian  sacrament. 

1739.  gfraljC,  '  mummery.'  The  thought  is:  Let  the  farce  be  carried 
out. 

1741-59.  Faust  would  in  a  sense  'break  the  agreement,'  if  he  were  to 
hold  back  and  give  the  devil  no  chance  to  satisfy  him.  So  he  gives  his 
assurance  that  he  will  do  his  best  to  carry  out  his  part  of  the  program; 
i.  e.,  that  he  will  cut  loose  from  his  present  existence  and  engage  with  all 
possible  fervor  in  the  business  of  '  seeing  what  life  is.' 

1748.     The  sense  is:  As  thinker  I  have  reached  the  end  of  my  course. 

1752-3.  The  thought  is:  Produce  your  marvels;  I'll  take  them  as 
they  come  and  not  play  the  rationalist  with  you. 

1759.  !Wur  ....  SOlonn,  '  without  any  cessation  the  (true)  man  keeps 
doing.'  2)er  2JJcmn  here  =  ber  ed)te,  tiidjtige  2JJann,  as  in  £>a  riifjre  ftd) 
ber  2Jtann.  Cf.  the  numerous  examples  in  Grimm  Wb.,  VI.,  1562.  The 
general  thought  is  well  illustrated  in  a  saying  of  Dicht.  u.  Wakr.,  Werke, 
XXVII.,  12:  @r  batte  mir  mir  fagen  burfen,  bag  e«  im  £eben  btofj  auf'« 
£&im  anfomme,  baS  ©eniefeen  unb  £eiben  finbe  ftd)  toon  felbfl  —  Wur 
limits  taftloS;  '  not  otherwise  than  restlessly,'  i.  e.,  without  any  cessation 
whatever. 

1763.  The  thought  is:  May  the  program  which  so  pleases  you  now  in 
anticipation  suit  you  when  you  come  to  carry  it  out. 


294  NOTES. 

1765-75.  Faust  hastens  to  correct  the  impression,  very  natural  from 
what  he  has  just  been  saying,  that  he  hopes  for  enjoyment  from  the  new 
career.  It  is  to  be  a  wild  'reel  '  through  the  world  in  quest  of  experience, 
the  painful  as  well  as  the  pleasant.  He  expects  to  be  bored  and  to  suffer, 
but  he  will  accept  that  as  a  part  of  his  destiny,  for  his  desire  is  to  feel  in 
his  own  being  all  that  men  have  ever  felt  anywhere.  Cf.  Intr.  p.  1. 

1766-7.  fdjmergHdjftem  ____  SBerbritft.  The  triple  oxymoron  contains 
this  sense  :  I  will  play  the  role  of  pleasure-seeking  sensualist  and  suffer 
pain  and  hate  myself  in  so  doing.  Soulless  sensuality  indulged  in,  as  a 
matter  of  experience,  by  a  man  capable  of  deep  feeling,  becomes  '  enamored 
hate  '  rather  than  love,  and  '  exhilarating  disgust  '  rather  than  true  enjoy- 
ment. 

1770.  With  this  line  Fgm.  begins  abruptly,  though  a  large  part  of  what 
precedes  must  also  have  been  in  existence  in  1  790.  As  to  Goethe's  prob- 
able reasons  for  publishing  the  lines  1770-1867,  while  suppressing  what 
goes  before,  see  Intr.  p.  1. 

1774.  erWcttcrn,  This  idea  of  infinite  self-expansion  was  a  favorite 
conception  with  the  youthful  Goethe.  Cf.  the  lines,  addressed  to  Nature, 
from  his  poem  Kunstlen  Abendlied,  written  in  1774: 

2Birft  atte  meine  flrftfte  ntir 
3n  metnem  Sinn  erljeitern, 
Unb  hiejeS  enge  S5afetn  l)ier 
erroettern. 


So   also   in   Prometheus,   I.,   the  hero   says:     SSermogt  iljt   mid) 
bebnen,  ju  erttmtertt  ju  einer  SBelt?    Cf.,  again,  Faust,  11.  641,  3285,  and 
3289. 

1775-  .S^fdlCttertt.  C"n  tne  meaning  of  this  word  in  relation  to  the 
compact,  cf.  Intr.  p.  lix. 

1  776-84.  To  Faust's  grandiose  talk  of  a  world-embracing  experience, 
Mephistopheles  replies  humorously  that  he  has  been  acquainted  with  the 
world  a  long  time  and  has  discovered  that  only  God  can  know  it  as  a  whole. 
Other  beings  must  be  content  with  limitations.  The  hopeless  task  of 
knowing  the  world  as  a  whole  he  conceives  under  the  image  of  attempting 
to  digest  a  mass  of  indigestible  leaven  ('  sour  dough  '). 

1784.  ttttb  Cttdj  ....  9?adjt,  '  and  for  you  only  day  and  night  (i.  e.,  the 
alternation  of  day  and  night)  is  suited.'  Duntzer  quotes  from  Meister, 


NOTES.  295 

Werke,  M.,  XVII.,  372  :  SBo  ifl  tor  tbm  (®ott)  etnm«  £obe€  ober  Siefes, 
ettnaS  §etle«  ober  5>uttlle8?  2Bir  nur  haben  ein  Dben  unb  Unten,  einen 
Sag  unb  eine  9?ad)t. 

1785.    $>a3  la^t  fid)  Ijurcit,  '  that  sounds  plausible.' 

1789-1800.  The  thought  is:  The  only  way  to  be  all-things-in-one  is 
to  become  the  theme  of  a  poet. 

1792.  GljfClt'Sdjeitel,  'honorable  pate';  vertex  honoratus,  says 
Grimm,  Wb. 

1804.  sKfcitfd)l)Ctt  ....  crrtttgett.  To  'win  the  crown  of  humanity' 
is  evidently  from  the  context,  only  a  new  phrase  for  Faust's  dream  of 
partaking  personally  in  the  experience  of  all  mankind. 

1816-7.  tJjf  fcf)t  ....  ftcfyt,  'you  see  things  as  people  just  see  them  '; 
i.  e.,  you  see  things  as  they  appear,  you  take  a  superficia'  view.  The  logic 
of  what  follows  is  :  Out  upon  your  repinings  over  human  limitations  !  To 
be  sure,  you  have  the  bodily  organs  of  a  man,  and  you  can  not  be  anything 
but  a  man.  But,  after  all,  that  is  yours  which  serves  your  pleasure,  and 
pleasure,  not  speculation,  is  what  life  is  for. 

1825.   bic  mctne  ;  for  the  rime's  sake  instead  of  bie  meineit. 

1830.  Serl  bet  tyeculirt.  Cf.  Scherer,  Goethe's  Fruhzeit,  p.  69,  who 
quotes  from  Herder  :  ©peculation  al8  §auptgefd)afte  be8  2eben8  —  meld) 
elenbes  ©efdja'fte  ! 

1832.  bbfcit  (Scift.  It  is  familiar  Germanic  folk-lore  that  animals  may 
be  bewitched  by  elves  and  dwarfs.  See  Grimm,  D.  M.,  I.,  381. 

1837.  $>ie  SttttJjeiS.  T^6  L°w  German  plu.  in  -s  (see  Brandt,  §  60) 
occurs  several  times  in  Faust.  Cf.  gti-'uleinS  in  1.  3020,  and  2ftobel8  in 


1838.  Witdjlmr  28aitft,  'neighbor  Paunch';  Mephisto's  name  for  a 
commonplace,  fat  and  self-complacent  pedagogue. 

1840—41.  Because  he  would  be  driven  from  his  position  for  heterodoxy. 
There  is  evidence  that  Goethe  at  one  time  thought  of  representing  Faust 
as  suffering  in  that  way.  Cf.  11.  590-3  6230-8,  and  Intr.  p.  xxxi. 

1842.    ©Icid),  '  this  moment.' 

1844.  UmrtCt  ImtflC.  Apparently  tho  boy  has  but  just  arrived.  We 
are  to  imagine,  probably,  that  he  had  called  earlier  and  been  asked  to  wait 
outside  until  Professor  Faust  should  be  at  leisure. 

1851-67.  On  this  soliloquy  cf.  Intr.  p.  li.  It  has  underlying  it  the 
early  conception  of  Mephistopheles,  and  was  written  before  the  compact 


296  NOTES. 

had  taken  shape.  The  devil  that  speaks  here  is  a  tormentor  who  is  quite 
sure  of  his  victim  and  not  at  all  concerned  to  win  Faust  by  satisfying  him. 
His  program  is  not  to  satisfy,  but  to  stupefy.  In  retaining  the  soliloquy, 
Goethe  of  course  counted  upon  the  interpretation  that  Mephistopheles  here 
speaks  his  true  character,  having  been  playing  the  hypocrite  hitherto.  The 
fact  is,  however,  that  we  shall  hear  very  little  henceforth  of  the  devil  who 
speaks  here,  or  of  the  program  thai  he  lays  down  for  himself. 

1852.  oHerI)M)fte  Staft.  The  devil  of  the  Prologue  (1.  284)  thinks, 
or  professes  to  think,  that  man's  •  reason  '  is  a  delusion. 

1861.  Utt&ebeutettljett,  '  insignificance ';  for  Unbebeiltenbbett,  after  the 
analogy  of  2lntt>ejertb.eit,  33eftommenfieit,  etc. 

1862.  gapjjeltt,  ftarren,  fle&ett,  '  struggle,  relax  effort,  stick  fast.'     The 
verbs  denote  three  stages  in  the  progress  of  a  man  becoming  gradually  ac- 
customed to  contact  with  something  vile  or  dangerous. 

1863.  Uncrfiittltrf)!ett.     The  dat.  means  '  for '  in  the  sense  of  '  for  the 
delusion  of,'  '  as  a  decoy  for.' 

1866.  iibcrflCbcit.     The  Faust  of  the  early  plan  was  to  '  give  himself 
over '  to  the  devil,  but  the  Faust  of  the  compact  simply  makes  a  wager  with 
the  devil. 

1867.  The  meaning  is :    A  man  of  such  insatiable  and  ungovernable 
desires  must  have  gone  to  ruin  morally,  even  without  a  formal  surrender  to 
the  devil. 

1868-2050.  On  the  early  version  of  this  scene  and  the  revision  for 
Fgm.,  cf.  Intr  pp.  xxxix  and  li ;  also  p.  1,  footnote.  Otto  Pniower,  in  V.  L., 
IV.,  317,  makes  it  appear  probable  that  the  original  scene,  as  it  appears  in 
U.,  consists  of  two  parts  separated  in  their  composition  by  a  considerable 
interval,  the  juncture  being  at  what  is  now  11.  1903-4.  The  first  part  was 
comparatively  vulgar  and  burschikos,  while  the  second  dealt  more  with  the 
intellectual  side  of  student  life  and  contained  satire  of  a  higher  order.  On 
the  revision,  this  first  part  was  in  the  main  omitted  and  the  second  consid- 
erably expanded.  These  changes  have  left  traces  upon  the  text  as  it  now 
stands.  For  the  original  text  of  U.  see  Appendix  II. 

1868.  (till)icr  =  bier.     The  word  was  archaic  even  in  Goethe's  youth. 
The  student  tries  to  talk  like  a  book. 

1874.  4?obt  tljf  •  •  •  •  tttngetljon,  '  have  you  been  about  elsewhere,'  i.e., 
have  you  called  on  any  other  professors?  U.  has  hier,  i.  e.,  in  this  city, 
instead  of  fonft. 


NOTES.  297 

1875.  The  student,  full  of  his  momentous  errand,  does  not  answer  the 
question  put  to  him. 

1879.  tt)0§  JRed|t3.  Cf.  1.  371,  note.  —  JjterauffCU,  'out  here.'  The 
student  comes  from  another  '  land  '  (kingdom,  duchy,  principality)  than 
that  in  which  the  university  is  situated. 

1896-7.  In  U.  this  question  comes  much  later  (after  a  dialogue  about 
the  besetting  dangers  and  trials  of  student  life),  and  the  boy  in  reply  an- 
nounces that  he  is  going  to  study  medicine.  Here  he  replies  more  vaguely 
so  as  to  give  an  opportunity  for  a  satirical  review  of  all  four  faculties. 

1901.  J&Hffcufrfjaft  itltb  yjotttt,  'science  and  nature,'  correspond 
roughly  to  what  we  should  now  call  the  historical  and  the  natural  sciences. 
But  the  student  does  not  himself  know  just  what  he  means. 

1903.  The  thought  is :  You  must  not  waste  your  time. 

1904.  bobct,  '  in  for  it.' 

1908.  bet  3ctt.     The  gen.  with  gebraudjen,  common  in  the  classics, 
is  now  well-nigh  obsolete. 

1909.  Ofbnitng,  '  system.'     As  Leipzig  freshman  writing  to  his  friend 
Riese  {Briefe,  I.,  14),  Goethe  prefaces  a  list  of  his  dissipations  with  the 
remark :  3d)  brcmdje  Sitnft  urn  fletfHg  ju  fetn. 

zgix.  (£aHcQtU!tt  iiogicitnt,  'course  in  logic.'  Mephistopheles  here 
gives  the  '  correct '  professorial  advice.  Logic  was  at  this  time  regarded 
as  a  drill  study  of  especial  value  as  a  general  propaedeutic.  In  U.  this 
whole  speech  comes  right  after  the  student's  announcement  that  he  is  to 
study  medicine. 

I9I3-  fpfltttfdjC  (Sticfdtt.  The  plu.  is  now  usually  strong.  The 'Span- 
ish boot '  was  an  instrument  of  torture  that  found  favor  with  the  Inquisition 
(hence  the  name  '  Spanish').  It  consisted  of  an  iron  case  which  enclosed 
the  leg  and  compressed  it,  wedges  being  driven  between  the  leg  and  the 
boot. 

1914.    &ebtt<f)tifler,  '  more  deliberately.' 

1916.  bic  SfCUJ  ttttb  ClUCt,  'hither  and  thither';  a  fem.  substantive 
made  by  taking  the  adverbs  freuj  and  quer  together  as  one  word  and  form- 
ing from  them  a  noun  upon  the  analogy  of  bie  Olierc.  The  construction 
is  ace.  of  the  way,  with  hinfdjteidje.  , 

1918-41.  The  point  of  the  satire  is  that  logic,  while  parading  itself  as 
the  science  of  thought,  does  not  teach  one  to  think  new  thoughts,  but  only 


298  NOTES. 

to  unravel  the  thoughts  one  already  has.  '  In  logic  it  struck  me  as  odd,' 
writes  Goethe  in  speaking  of  his  Leipzig  experiences,  '  that  I  was  expected 
thus  to  pull  to  pieces,  simplify  and,  as  it  were,  destroy  those  mental  opera- 
tions which  I  had  performed  from  youth  on  with  the  greatest  ease,  and  to 
do  this  in  order  that  I  might  understand  the  right  use  of  them ';  Werke, 
XXVIL,  53. 

1919.  nuf  CtttCtt  Sdjlflg,  'at  a  stroke,'  i.  e.,  all  at  once,  without  any 
analytic  process. 

1934.  oiler  DrtCtt, 'everywhere';  adv.  gen.  of  place,  Dtten  being  the 
old  weak  plu. 

I935-     The  thought  is:  Logic  makes  unravelers,  not  weavers. 

1940.  Encheiresin   naturae,  '  encheiresis   (manipulation)   of  nature.' 
The  Gr.  eyxeiprjaie,  '  taking  in  hand,'  was  used  as  a  medical  term  = '  treat- 
ment.'    In  early  modern  chemical  treatises  it  was  much  employed  (but  not 
in  connection  with  naturae)  in  the  sense  of  '  operation.'   Cf.  Kopp,  Aurea 
Catena,  p.  6,  who  translates  it  cleverly  by  §anbgreif{id)ttiad)Ung.      From 
some  such  book  Goethe  took  the  word,  adding  naturae  (as  objective  gen.) 
to  give  the  meaning  '  tactual  investigation  of  nature,'  '  art  of  getting  at 
nature's  secrets  by  manipulation.'     The  idea  is  that  the  chemists,  like  the 
logic-choppers,  fancy  that  they  are  getting  at  the  secrets  of  nature,  are  ex- 
plaining the  organic  process  by  which  she  produces  a  living  thing,  when 
they  take  the  thing  to  pieces  and  thus  destroy  at  the  outset  that  which  is 
the  real  object  of  interest,  namely,  the  'life,'  the  mysterious  'vital  bond' 
which  gives  the  thing  unity  and  distinguishes  it  from  the  sum  total  of  its 
inanimate  parts.     By  cherishing  this  notion  and  calling  their  folly  by  a 
high-sounding  name,  they  make  themselves  ridiculous.      This   idea  was 
a  favorite   one   with  Goethe,  who  looked   at   things  from  an  artistic  or 
aesthetic  point   of  view.     '  Spare  me,'  he  writes  in  a  letter  of  July   14, 
1770,   'the  joy-deadening   empiricism  which  kills   butterflies   and   anat- 
omizes flowers.'     Cf.  also  the  note  to  11.  672-5. 

1941.  fpottet  iljrer  felfcft,  U.  hasbobrt  fid)  felbft  einen  (gfel,  'makes  a 
fool  of  itself.' 

1950-53.  The  thought  is  that  metaphysic  is  a  matter  of  high-sounding 
names  for  ideas  so  very  profound  that  the  human  brain  can  not  understand 
them. 

1955.    9?eJ)mt  nmtyr,    'take  note  of,  'give  heed  to';   Drbnung  gen. 


NOTES.  299 

1956.  tyfllit  tljt;  not  'you  have,'  but  'take,'  i.  e.,  I  advise  you  to  take. 
U.  has  nefimt. 

X959-  ^5flragratlIjO$;  the  sections  or  paragraphs  into  which  the  text- 
book is  divided.  The  form  is  a  Lat.  ace.  plu.,  to  be  pronounced 


1961.  Ct;  the  lecturer.  We  have  to  think  of  academic  lectures  con- 
sisting of  comment  upon  a  printed  text-book. 

1962-3.  It  was  one  of  Goethe's  grievances  at  Leipzig  that  he  was  ex- 
pected to  listen  to  and  write  down  what  he  already  knew. 

1963-  bcr  4petH{JT  ©Ctft  ;  an  archaic  phrase  preserving  the  old  unin- 
flected  adj.  There  is  really  no  elision. 

1972-79.  These  lines  upon  the  study  of  the  law  are  not  found  in  U. 
Cf.  Intr.  p.  li.  The  charge  is  that  jurisprudence  is  the  study  of  precedents 
rather  than  of  justice  or  natural  right.  The  student  must  occupy  his  mind 
with  laws  that  originated  far  away  in  time  and  space  (German  jurispru- 
dence is  based  upon  the  Roman  law)  and  have  survived  the  conditions 
that  gave  them  birth;  so  that  legislation  which  was  once  reasonable  and 
beneficial  may  be  absurd  or  even  harmful.  The  nature  of  the  study  here 
described  appears  clear  from  a  passage  of  Dicht.  u,  Wahr.  (  IVerke,  XXVII., 
235),  in  which  Goethe  speaks  of  the  contrast  between  the  universities  of 
Leipzig  and  Strassburg.  At  the  latter  his  mentor  said  to  him  :  '  It  is  not 
asked  (here  in  France)  how  and  where  a  law  originated  and  what  was  the 
inner  or  outward  occasion  of  it;  we  do  not  inquire  how  it  has  been  modi- 
fied by  time  and  custom,  or  how  far  it  may  have  been  actually  perverted 
by  false  interpretation  or  wrong  judicial  usage.  In  such  investigations  the 
learned  quite  properly  spend  their  lives;  but  we  concern  ourselves  with 
that  which  is  at  present.' 

1972.    ©efe^r  Itttb  JHcdjtC,  'statutes  and  laws'  (leges  et  jura). 

1986.  UCrborijltCCi  dHft,  'hidden  poison';  heterodox  views  which  the 
student  is  in  danger  of  absorbing  into  his  system  unawares. 

1998.    fiereiteit,  'prepare,'  'devise.' 

2000.    ^ota:  a  dissyllable. 

2008.    fififjt  ....  fiihleu,  '  one  can  the  sooner  feel  his  own  way  further.' 

2012.  J}ro^T  Uttb  Heine  ZBelt;  here  simply  a  phrase  for  'all  the  uni- 
verse.' In  1.  2052  it  is  used  more  definitely. 

2019.    nod),  'moreover.' 


300  NOTES. 

2024-6.  The  meaning  is  that  woman's  ills  all  have  their  seat  in  her 
sexual  nature.  —  It  is  here  that  Mephistopheles  begins  to  '  play  the  genuine 
devil '  (1.  2010). 

2029.    @in  Xitel;  i.  e.,  you  must  first  become  an  M.  D. 

2031.  glint  S®iHfOttttttr <Sie&enffld)en,  '  then  by  way  of  welcome 

(i.  e.,  at  the  very  outset)  you  have  only  to  reach  out  your  hand  for  all  sorts 
of  favors.'  Goethe  conceived  SBiHfomm'  as  an  abbreviated  SBiflfommett. 

2039.  Wriin,  golbner.  The  colors  seem  contradictory,  but  Goethe  is 
fond  of  using  gotten  in  the  sense  of  'lovely,'  'precious.'  Thus  Frau  von 
Stein  is  addressed  as  golbtte  ^rcni.  ©rim  is,  of  course,  the  color  of  the 
living  tree,  as  grait  is  that  of  ashes  and  death. 

2048.  Eritis  ....  malum,  '  ye  shall  be  as  God,  knowing  good  and 
evil';  part  of  the  serpent's  promise  in  Gen.  iii.  5,  where,  however,  the 
Vulgate  has  dii,  '  gods,'  instead  of  Goethe's  Deus.  Schroer  supposes  the 
change  due  to  Luther's  translation,  which  has :  3I)r  tterbet  fein  fine  ©ott. 

2049-50.  The  meaning  is :  Let  yourself  be  beguiled  by  the  devil  (as 
Adam  and  Eve  were)  into  forming  fine  hopes  of  the  wonderful  knowledge 
you  are  to  acquire,  and  you  will  be  disappointed  as  they  were.  The  lines 
can  be  scanned  after  a  fashion  as  hexameters,  but  the  rime  indicates  that 
they  were  not  consciously  intended  for  hexameters.  Bartsch,  G.-J.,  I.,  133, 
is  probably  right  in  calling  them  defective  alexandrines. 

2051—72.  These  lines,  not  found  in  U.,  were  inserted  in  Fgm.  to  fur- 
nish the  needed  introduction  to  '  Auerbach's  Cellar.' 

2052.  $>ie  Heine  —  bie  grofje  2BeIt.  The  '  little  world '  is  the  world 

of  common  life,  the  '  great  world '  the  Emperor's  court. 

2055.  6ei,  '  with.'     Fgm.  has  mit. 

2056.  IcidjtC  iJebcn^art,  '  easy  way-of-the-world,'  savoir  vivre. 
2069.    Jeucrluft,   'hydrogen';    the  'inflammable  air'  of  Cavendish's 

early  experiments.  The  first  hydrogen  balloon  was  sent  up  at  Paris  Aug. 
27,  1783,  in  which  year  Goethe's  letters  several  times  allude  to  his  interest 
in  the  new  art. 


NOTES.  301 


rbad)§    teller. 

For  the  original  form  of  this  scene,  see  Appendix  II.;  respecting 
the  revision  of  1 790,  see  Intr.  pp.  xxxix,  li.  On  the  strength  of  a  letter 
(Briefe,  II.,  292),  in  which  Goethe  speaks  of  having  just  'made '  a  scene 
of  Faust,  and  in  the  same  connection  compares  himself  to  a  poisoned  rat, 
it  has  been  supposed  that '  Auerbach's  Cellar'  was  written  Sept.  17,  1775, 
the  date  of  the  letter  referred  to.  But  the  prose  of  the  scene  as  it  appears 
in  U.,  its  crude  art,  its  vivid  Leipzig  reminiscences,  above  all  its  undevel- 
oped Faust,  who  is  simply  the  self-complacent  magician  of  the  legend,  all 
point  to  a  much  earlier  date  for  the  composition  of  the  scene.  The  letter 
just  spoken  of  may  mean  only  that  a  part  of  the  scene,  say  the  rat-song 
itself,  was  written  at  this  time,  or  that  the  poet  now  first  committed  to 
paper  what  he  had  long  been  carrying  in  his  mind.  Or  it  may  refer  to  an 
entirely  different  scene. 

Auerbach's  Hof  as  known  to  Goethe  was  a  large,  old  building  (it  was 
begun  in  1530)  designed  especially  for  the  accommodation  of  traders  who 
came  to  the  great  Leipzig  fair.  The  '  Keller,'  which  still  thrives  under  the 
old  name,  was  a  wine-room  in  the  basement.  Just  how  old  the  tradition 
is  which  connects  Faust  with  this  place,  can  not  be  stated.  The  Spies 
book  of  1587  does  not  mention  Leipzig  among  the  places  visited  by  Faust. 
In  Widman,  however,  who  is  copied  by  C.  M.,  we  find  (Scheible,  V.,  499) 
a  story  of  Faust's  visiting  the  Leipzig  fair  with  several  companions.  They 
pass  a  wine-cellar  (name  not  given),  where  some  workmen  are  trying  to 
get  up  a  cask  of  wine.  Faust's  party  laugh  at  their  efforts,  whereat  the 
men  become  angry  and  abusive.  Then  the  host  promises  the  cask  to  any 
one  who  will  bring  it  up  alone.  At  this  Faust  seats  himself  on  the  cask, 
rides  it  up  out  of  the  cellar,  and  then  taps  it  for  the  benefit  of  his  friends. 
This  exploit  was  soon  localized  by  the  saga  at  Auerbach's  Keller,  where  in 
Goethe's  time,  as  still  to-day,  various  mementos  of  the  famous  ride  are 
preserved.  Chief  among  these  are  two  pictures,  one  showing  Faust  astride 
the  cask  in  presence  of  his  wondering  friends,  the  other  representing  the 
subsequent  drinking-bout. 

Widman  (Scheible,  II.,  511)  also  tells  the  story  of  the  wine  conjured 
from  four  gimlet-holes  bored  in  the  edge  of  a  table,  but  describes  the 


302  NOTES. 

occurrence  as  taking  place  at  the  house  of  a  friend  of  Faust  at  Erfurt.  The 
trick  of  the  grapes  is  not  reported  by  Widman,  but  is  found  in  the  Centu- 
riae  of  Philip  Camerarius,  which  appeared  in  1602.  From  this  Latin  work 
it  found  its  way  into  various  books,  some  one  of  which  must  have  been 
known  to  Goethe.  The  substance  of  the  story  in  Camerarius  is  that  Faust, 
being  once  in  a  company  of  revelers,  who  ask  to  see  a  specimen  of  his 
powers,  promises  to  make  a  vine  full  of  ripe  grapes  grow  out  of  the  table. 
After  charging  them  to  remain  quiet  until  he  shall  permit  them  to  cut  off 
the  grapes,  he  produces  his  illusion.  They  all  draw  their  knives  and  wait 
for  the  word.  Then  Faust  breaks  the  spell,  and  they  find  they  have  pre- 
pared to  cut  off  each  others'  noses. 

2072+.  ,8Cff)e  Ittfttgcr  ©efetteit.  That  the  « jolly  fellows'  are  students 
is  not  expressly  stated,  but  so  we  must  doubtless  regard  them.  In  U.  Alt- 
mayer  is  called  Alten,  and  Siebel  is  referred  to  as  a  married  man. 

2074.  Idjrcu  ©eftd)ter  madjen.  The  thought  is :  Out  upon  those  sol- 
emn faces  of  yours !  3d)  roilt  bid)  leljrett  is  a  formula  of  reproach.  Thus 
Goethe  writes  to  his  sister,  Briefe,  I.,  32 :  3d)  roiU  bid)  lehrett  fo  unfleiftig 
git  fettt,  i.  e.,  '  fie  upon  your  laziness  ! '  So  in  Eng.  an  angry  parent  says : 
4  I'll  teach  you  to  disobey  me,'  meaning,  '  I'll  teach  you  not  to.' 

2076.  ltdjtcrlol),  'with  bright  flame  ';  from  Ud)ter  £ol)e  taken  as  gen. 
of  manner. 

2079.  boppclt  Srfjltiein,  'doubly  hog';  viz.,  once  for  the  'stupidity' 
of  the  trick  and  once  for  its  '  nastiness.'  U.  has  (Sfel !  <E>d)roein !  To 
which  Frosch  replies :  SDiufj  man  mil  eiidj  ntdjt  bet)be«  jetyn. 

2082.  Wuitbrt.  The  word  is  a  musical  summons  to  '  join  in '  a  song 
(SRltnbgefdltg).  Several  old  German  songs  have  the  refrain  '  runda,  runda, 
runda,  dinella.' 

2088.    91  totO  ItttO  bli;  a  sort  of  preliminary  do-mi-sol-do. 

2091.  The  lack  of  unity  and  cohesion  in  the  Holy  Roman  Empire  was 
a  favorite  theme  for  satire  in  Goethe's  day. 

2099.  Qufllttfit;  an  obscene  allusion  to  the  legend  of  Pope  Joanna  and 
the  precautions  taken  in  the  college  of  cardinals  after  her  time  to  prevent 
the  election  of  a  woman  to  the  papal  chair.  Cf.  V.  L.,  II.,  596. 

2101-2.  An  old  folk-song  begins  with  the  exact  words  of  1.  2101,  and 
another  runs : 


NOTES.  303 


SladjtigaD,  ic6  b.  or'  bid)  ftngcn, 
p"  mein  £dpa$$en  taufenbmal. 


1105-7.  These  lines  seem  to  be  Goethe's  own.  The  waiting  lover 
entreats  admittance  to  the  room  of  his  sweetheart,  who  is  to  bolt  the  door 
after  his  departure  in  the  morning. 

2112.  Oltf  Ctttem  ^reujmeg.  A  cross-road  is,  in  German  folk-lore,  an 
uncanny  place.  Cf.  Schiller,  Jungfrau,  1.  112  : 

....  trttt  auf  ben  ftreujtoeg  b,tn  unb  pflegt 
Oe&eime  3»eifpra<$  tnit  ber  Suft  be§  8erge§. 


2113.  ^torfsberg;  the  Bracken,  to  which  on  Walpurgis-Night  (cf.  note 
to  the  scene  of  that  name)  witches  ride  on  the  backs  of  devils  (33ub,lteufel) 
in  the  form  of  rams,  he-goats,  etc. 

2120.    id)  rocif?  311  Icbcn,  'I  know  what's  what.' 

2122.  nad]  3tanbs?gebiif)r,   '  according  to  the  requirements  of  (their) 
position.'     The  song  is  to  be  a  love-song  for  lovers. 

2123.  3ur  fltttCtt  9!ad)t,  '  as  hoping  for  a  jolly  night.'     Brander  does 
not  intend  a  good-night  song  thus  early.     The  gu  is  used  as  in  trinfen  tt)it 
etn«  jur  gliicfUdjen  SReife.  —  On  jum  Seften  gcben,  cf.  1.  119,  note. 

2138.  tljfit;  indicative.     The  form  is  a  dialectic  survival  of  M.  H.  G. 
tete  ->-tet(\.  and  3.  sing.  pret.  ind.).     The  a  of  the  modern  tbat  belonged 
originally  only  to    the    plu.      For    other   examples  of  tbat  as    ind.,  cf. 
11.  2145,  2869-70,  3578. 

2139.  geitling.     Goethe  often  uses  genuitg,  instead  of  gertitg,  not  only 
in  verse  where  the  rime  requires  it,  but  in  his  letters;    e.  g.f  Briefs,  I., 
231.  253. 

2147.  £feift  ____  £0dj.  2luf  or  au8  bem  lefcten  god)  pfetfen  is  a  figure 
derived  from  blowing  a  flute,  and  means  '  to  be  at  the  end  of  one's  wind,' 
'  to  be  at  the  last  gasp.' 

2172.  eitt  flcitt  ^urtd.  In  Goethe's  time  the  Leipzig  people  plumed 
themselves  on  their  refinement  and  savoir  vivre.  The  city  is  called  ein 
fleilt  ^3ari8  in  a  book  on  Leipzig  published  in  1  768  by  a  theological  stu- 
dent who  styled  himself  Baron  von  Ehrenhausen.  See  Leipzig  und  seine 
Universitdt  vor  hundert  Jahren  (Leipz.  :  Breitkopf  u.  Haertel,  1879), 
p.  IX. 

2174.    S5et  Ctncm  HoflCtt  ©lafc  ;  not  a  form  of  asseveration.     Frosch 


304  NOTES. 

means  that  one  glass  will  loose  the  tongues  of  the  two  strangers  and  enable 
him  to  '  pump '  them,  i.  e.,  find  out  where  they  come  from  and  what  their 
business  is. 

2184.  fytttft.  The  devil  has  one  human  foot  and  one  horse's  foot 
(cf.  11.  2490  and  2502),  which  makes  him  limp.  Or,  his  lameness  is  due 
to  his  fall  from  the  sky.  Hinkebein,  Lame-leg,  is  one  of  his  names;  cf. 
Grimm,  D.  M.,  II.,  829.  So  Goethe's  Satyros  is  a  bittfenber  SBalbteufel. 
Hephaestus- Vulcan  was  also  lame. 

2189.  iRtypdd) ;  a  village  a  few  miles  southwest  of  Leipzig.  In 
Goethe's  day  its  name  was  used  like  our  American  '  Wayback.'  Hans,  or 
Hans  Arsch  von  Rippach  is  John  Lubber  of  Lubberton.  The  jest  is  at 
least  as  old  as  1710;  cf.  G.-J.,  I.,  435. 

2192.    bfl$  tcfttcmal,  i.  e.,  on  occasion  of  our  last  preceding  visit. 

2214.  20t)tt  J  to  be  pronounced  @olj,  thus  riming  with  ^fafy-  The 
dropping  of  the  n  is  South  German  dialect.  Cf.  met  @ob,  for  meitt  @ob.tt, 
quoted  in  Zelter's  letter  to  Goethe  of  Oct.  II,  1827. 

2237.  tt)ir  ;  i.  e.,  we  common  people,  who  are  not  bound  by  court 
forms,  or  subject  to  the  tyranny  of  parvenu  court-favorites,  —  we  can  get 
rid  of  the  fleas  that  trouble  us. 

2243.    feitt,  'deftly.' 

2255.  and)  red)t  =  fdjon  rerfjt;  fcfyott  redjt  oofl,  'right  well  filled.' 

2256.  Altmayer  takes  the  strangers  for  wine-dealers  from  the  Rhine. 
2293-4.    To  be  taken,  seemingly,  as  the  beginning  of  a  catch  familiar 

to  the  company.  —  ficutltibalifd)  ttJ0l)l,  '  savagely,  inordinately,  happy.' 

2304.  @r,  cf.  note  to  1.  548. 

2305.  The  sense  is :    I  should  think  we'd  better  quietly  get  rid  of  him. 
2323.    fa,atlT  id).     In  view  of  toar  in  1.  2322  one  might  expect  batte. 

But  we  must  suppose  that  Brander  and  Siebel  hold  each  other's  noses  a 
second  longer  than  the  other  pair,  and  that  these  words  are  spoken  during 
the  SluSeinanberfabren  of  1.  2321+. 

2332.  SJleitt,  '  well  now ';  a  common  exclamation  of  wonder.  Grimm 
Wb.,  VI.,  1919,  supposes  it  to  come  from  mein  ©efefle.  But  other  phrases, 
like  metn  Ueber  ^reunb,  or  mein  ©ott,  may  also  have  had  to  do  with  its 
origin. 

2336.    einS ;  =  jemonb.    So  again  in  1.  7196. 


NOTES.  305 


THE  relation  of  this  scene  to  the  general  plan  of  the  poem  is  discussed 
in  Intr.  p.  xlvii.  The  only  occasion  for  the  scene,  from  a  dramaturgic  point 
of  view,  was  to  explain  the  astonishing  change  that  was  to  take  place  in 
the  character  of  Faust.  It  is  easy  to  see,  however,  that  the  love-philtre 
did  not  necessitate  a  long  and  elaborate  scene  like  the  one  we  have.  Me- 
phistopheles  might  have  been  made  to  furnish  the  magic  potion  himself, 
as  is  hinted  in  11.  2367  ff.  But,  since  the  brewing  of  love-potions  was 
looked  upon  by  popular  superstition  as  peculiarly  the  business  of  witches, 
and  witches  are  servants  of  the  devil,  it  seemed  plausible  to  take  Faust  to 
a  witch  for  the  needed  elixir.  This  idea  once  adopted,  the  poet  gave  the 
rein  to  his  fancy  and  worked  out  a  very  simple  dramatic  motive  into  an 
,  elaborate  genre-picture.  It  suited  his  humor  to  abstract  himself  from  the 
associations  of  classical  art  in  Italy  and  let  his  imagination  disport  for  a 
time  among  the  grotesque  superstitions  of  the  North. 

The  details  owe  nothing  whatever  to  the  Faust-legend,  but  are  the  work 
of  Goethe's  imagination  aided  only  by  the  general  literature  of  witchcraft, 
and  also,  as  commentators  think,  by  certain  paintings  of  the  Flemish  artists 
Teniers  and  Breughel.  The  '  baboons  '  of  Teniers  were  famous,  and  in  one 
of  his  pictures  some  of  these  animals  are  depicted  as  rolling  a  huge  world- 
ball.  There  is  no  considerable  amount  of  genuine  folk-lore  connecting 
apes  with  witches;  but  since  the  devil  caricatures  the  works  of  God,  and 
the  ape  is  a  caricature  of  man,  it  seemed  logical  to  regard  the  ape  as  be- 
longing to  the  devil's  kingdom.  So  Goethe's  apes  imitate  men,  and,  natu- 
rally enough,  their  talk  and  actions  contain  here  and  there  a  touch  of 
satire.  But  we  are  not  called  upon  to  ponder  very  deeply  over  this  satir- 
ical mimicry,  or  the  glass  ball,  or  the  witch's  multiplication-table.  Goethe 
had  from  youth  on  a  propensity  for  humorous  mystification.  He  was  fond 
of  dressing  up  nonsense,  or  mingling  sense  and  nonsense,  in  such  a  way  as 
to  convey  a  suggestion  of  portentous  wisdom.  The  reader  of  Faust  needs 
often  to  be  on  his  guard  against  finding  too  much  '  meaning  '  in  the  play 
of  its  author's  poetic  humor. 

2338-  fltttefeit,  '  recover.'  Imagine  Mephistopheles  to  have  been  say. 
ing  that  Faust's  brooding  reserve  is  a  malady  that  requires  a  magic  cure. 


306  NOTES. 

2342.  breifttg  $af)re.    See  Intr.  p.  xlvii. 

2347.  Hug,  'sensibly';  because  at  the  last  (11.2345-6)  Faust  seems 
disposed  to  take  the  question  of  rejuvenation  more  seriously. 

2349.    nubcttt;  '  other '  than  that  of  magic. 

2351-61.  This  somewhat  irrelevant  banter  means  that  'nature'  (cf.  1. 
2345)  provides  no  way  of  making  a  man  young  except  to  make  him  and 
keep  him  a  child  in  experience.  One  who  leads  a  simple,  eventless  life 
under  primitive  conditions  remains  '  young '  until  he  is  rsady  to  die. 

2358.  ad)t  e3 'Jtaufc,  '  do  not  feel  above.'  giir  SRaub  ac&ten 

means  '  to  regard  as  a  robbery,  i.  e.,  derogation,  from  one's  dignity.'  In 
Luther's  Bible  it  translates  the  Gk.  apirayftbv  qyeladai  of  Phil.  ii.  6.  Goethe 
writes  to  Schiller,  Apr.  29,  1798:  ^reitttb  2ftet)er  roirb  e§  aucf)  fur  feinen 
9faub  adjten,  ju  biefer  barbarifdjen  ^robuction  (goiift)  3eid)nungen  3U 
toerfertigen. 

2361.  3tuf  adjtgig  ....  ttcrjiingCtt,  'to  (make  and)  keep  you  young 
to  your  eightieth  year.' 

2369.  23riirf  Ctt.  The  devil  of  Germanic  folk-lore  builds  bridges,  some- 
times that  he  may  reach  some  object  of  his  lust,  sometimes  at  the  request 
of  men,  in  which  case  his  reward  is  the  soul  of  the  first,  or  of  every  thir- 
teenth, person  that  crosses  the  bridge.  Cf.  Grimm,  D.  M.,  II.,  853. 

2392.  23cttdfltpJ)CH,  '  soup  for  beggars.'  The  point  of  the  satire  ap- 
pears from  a  passage  in  a  letter  of  Goethe  to  Schiller,  written  July  26, 
1797,  in  which  he  speaks  of  a  then  popular  play  as  'genuine  beggars'  soup, 
such  as  the  German  public  loves.'  Whence  we  see  that  brcttc  means 
'thin,'  'watery.' 

2397.  frfjledjt  ift'S  beftettt,  '  it  (i.  e.,  the  distribution  of  wealth)  is 
badly  ordered.' 

2398-9.  The  ape  means  that  he  only  needs  money  to  give  him  a  repu- 
tation for  '  sense.' 

2401.    itt'S  fiottO  fe^Ctt,   '  take  a  risk  in  the  lottery.' 

2410.  $d)  6iw  Icbcnbig,  '  I  am  alive,'  i.  e.,  lively,  spry.  The  ape  jumps 
out  of  the  way  of  the  ball  and  advises  his  son  to  do  likewise,  lest  it  burst 
and  kill  him. 

2417-8.  These  lines  allude  to  the  art  of  coscinomanqy  or  divination  by 
means  of  a  sieve.  It  was  employed  commonly  in  Germany  in  the  i6th 
and  1 7th  centuries  for  the  detection  of  thieves.  A  witch  or  other  expert 


NOTES.  307 

would  take  the  sieve  between  the  two  middle  fingers,  speak  an  incantation, 
and  pronounce  the  names  of  suspected  persons.  At  the  mention  of  the 
right  name  the  sieve  would  begin  to  turn.  •  There  were  also  other  methods. 
Cf.  Grimm,  D.  M.,  II.,  927. 

2428.  itt  ©Cffcl ;  for  in'n,  i.  e.  in  ben  ©effet.  The  contraction  does 
not  occur  elsewhere  in  Faust,  but  is  found  in  Gotz  repeatedly;  e.  g. :  3b.r 
ttmrft  fte  bent  geinb  an  $opf ;  folljl  bu  nidjt  in  ©treit  —  both  from  the 
first  act. 

2429-40.  Ijimtttlifd)  Silb.  Mephistopheles  seeks  to  excite  Faust's  sen- 
suality by  showing  him  a  vision  of  female  beauty.  There  is  no  occasion  to 
think  of  Helena,  much  less  of  Gretchen. 

2442.    braDO;  in  allusion  to  Gen.  i.  31. 

2452.  Icintcn.  The  crown  is  as  yet  only  cracked.  The  apes  want  the 
play-monarch  to  mend  it,  just  as  real  monarchs  mend  their  broken  crowns, 
with  sweat  and  blood  —  those  of  their  subjects, 

2464.  aitfrttfjtigc.  The  ape-poets  are  called  'honest '  because  of  their 
frank  admission  that  ideas  are  with  them  a  secondary  consideration,  a  mat- 
ter of  luck.  They  chatter  and  rime,  and  may  happen,  now  and  then,  to 
express  a  thought.  The  lines  are  aimed  at  jingling  rimesters  who  have 
nothing  to  say. 

2483.  2Ba3  fyalt 511;  —  roa«  bait  mid)  bauon  ab,  bag  id)  ju» 

fdjlage.  Cf.  1.  1020. 

2491.  JHabcit.  The  Norse  god  Odin  had  two  ravens,  Huginn  and 
Muninn  (Thought  and  Memory),  who  brought  him  tidings  of  what  was 
going  on.  Mephisto's  ravens  actually  appear  further  on,  in  1.  10664. 

2504.  punier  gaton.    Cf.  1. 1535,  note. 

2507-9.  A  side  thrust  at  the  Age  of  Enlightenment.  Men  look  on 
Satan  as  a  myth ;  they  have  got  rid  of  the  Evil  One,  but  not  of  the  evil 
ones. 

2518.  fdjdfft;  the  weak  verb  fdjaffen,  in  the  sense  of  befeblen,  is  South 
German  dialect. 

2540-52.  From  behind  her  ape-pulpit,  with  ape-candelabra  on  either 
side,  the  witch,  as  priest,  declaims  from  her  big  Bible  —  unctuous  non- 
sense. 

2543.    flfcidj,  '  even '  i.  e.  an  even  number. 

2556.    tttandje  3c^r  an  unusua^  expression  for  Diet 


308  NOTES. 

2561-2.  The  devil  refers  here  to  the  doctrine  of  the  Trinity.  Said 
Goethe  to  Eckermann,  Jan.  4,  1824,  in  speaking  of  the  world's  reception 
of  his  ideas :  '  I  believed  in  God  and  nature,  and  in  the  victory  of  the  noble 
over  the  bad.  But  that  was  not  enough  for  the  pious  souls;  I  was  also  to 
believe  that  three  are  one  and  one  three.  But  this  was  opposed  to  my  in- 
stinctive feeling  for  truth.' 

2563-6.  The  logic  is :  So  they  babble  on,  and  no  one  interferes  with 
them,  because  it  is  the  nature  of  man  to  assume,  when  he  hears  words 
spoken,  that  they  must  have  some  meaning,  though  he  does  not  under- 
stand it. 

2567-72.  The  witch,  still  parodying  the  priestly  tone,  insists  that  her 
wisdom  is  not  the  wisdom  of  the  world,  but  transcends  reason.  No  use  to 
think  about  it,  it  must  be  received  by  faith. 

2581.  (Mtobett ;  not  academic,  but  something  like  masonic,  'degrees.' 
The  thought  is  simply :  He  is  no  novice. 

2591.  iHcb.  The  witch  gives  Faust  an  incantation  which  will  inten- 
sify the  effect  of  the  potion.  Schroer  sees  an  allusion  to  the  distributors 
of  religious  tracts. 

2601.  SBhtfter  Otter  gfroiten;  the  Helena  of  the  legend.  But  of  course 
Goethe  was  thinking  of  Gretchen. 

2604.  ^elencn.  Goethe  makes  the  name  §e'lene,  as  here,  or  §ele'nc, 
according  to  the  exigency  of  the  meter. 


©  t  r  a  ft  e. 

WITH  regard  to  the  Gretchen  scenes  in  general,  their  earliest  form  and 
sequence,  the  names  '  Margarete '  and  '  Gretchen,'  the  omissions  of  Fgm., 
and  the  revisions  and  additions  of  the  final  version,  see  Intr.  pp.  xxv,  xl, 
xlii-iv,  lii-iv,  Ixii-vii,  and  Ixxx— ii.  The  scenes  are  nowhere  distinctly  local- 
ized, but  we  may  suppose  that  Goethe  had  in  mind  his  native  city. 

2606.  lUictHClt  Stritt  Itttb  ©Clett.     Present  approved  usage  would  re- 
quire 2ftetneu  9lrm  unb  mein  ©eleit.     U.  has  2ftein,  i.  e.  2Mn'n. — 
Respecting  $ljr  as  pronoun  of  address,  cf.  note  to  1.  548. 

2607.  $raulcitt.     For  Gretchen  the  word  means  '  fine  young  lady.'    It 


NOTES.  309 

was  formerly  applied  only  to  persons  of  noble  rank  or  high  station.  When 
its  use  was  extended,  gitfibigeg  was  prefixed  to  give  the  implication  for- 
merly given  by  ^raiilein  alone.  —  SBebcr toebcr,  for  toeber  nodj,  is 

colloquial. 

2611.  fttt=  ttttb  tugettbretcf),  'modest  and  virtuous';  a  very  dubious 
compound  =  fittfant  linb  tltgenbreid).  There  is  no  such  word  as  ftttreidj, 
while  jttteitreidj  would  not  give  the  required  meaning. 

2614.    btC  Sogc  ber  SBelt,  'while  the  world  lasts ';    ace.  of  duration. 

2617.  furj  dttgcbunbcn,  'snappish';  an  expression  derived,  according 
to  Grimm  Wb.,  from  the  practice  of  giving  savage  animals  a  short  tether. 
'  To  be  tied  short '  thus  came  to  mean  '  to  be  cross  and  unapproachable.' 
It  is  thus  much  the  same  as  fdjntppifd)  above. 

2623.  t)0f  bet.  U.  has  faerbei,  giving  the  sense  of  '  crept  up  by,'  instead 
of '  crept  past.'  The  first  seems  better  since  he  would  hardly  hear  so  much 
in  merely  creeping  past. 

2628.  JQanS  iiieberltd),  'Jack  Profligate.'  The  adj.  occurs  in  various 
phrases  as  the  name  of  a  dissolute  person,  i.  e.,  iBruber  SieberUcf),  5rau 
Jieberlich,  2ftonfteur  Sieberlid). 

2630.  bitufclt  U)ttt,  'he  fancies  conceitedly';  a  denominative  verb 
from  3)iinfet, '  conceit.' 

2633.  9Kogtftcr  fiobefdlt,  'Master  Worshipful.'  Jobefttlt,  changed 
from  Sobefam,  'laudable,'  was  appended  to  a  title  at  first  as  a  serious,  or 
mock  serious,  title  of  respect.  Thus,  £err  Slitter  Sobefatt  (Wieland), 
deafer  SRothbart  Sobefan  (Uhland),  ein  jungeS  SSeibdjen  ?obejan  (Biirger). 
SJiagijler  Sobefatt  early  became  stereotyped  as  a  sarcastic  form  of  address 
to  an  academic  graduate  who  showed  himself  inclined  to  dogmatize  and 
'lay  down  the  law '  (cf.  ©efetj  in  1.  2634). 

2639.    Wa§  ....  mag,  '  what  is  possible.' 

2642.  ftcbctt  Stunbcn.  U.  has  fieben  Sage.  The  ground  of  the 
change  and  the  nature  of  Faust's  pressing  business  are  not  apparent 

2650.  SBnmboriunt,  'fol-de-rol';  a  Latinization  of  Fr.  brimboriotu, 
'  trifles,'  '  knick-knacks.' 

2652.  uwlfdjC  ®efd)idjtT  ;  in  allusion  to  lubricious  French  novels,  or 
perhaps  to  Italian  tales  in  the  manner  of  the  Decamerone  of  Boccaccio. 

2654.    oljtte  ©^impf ©pofe,    'joking  and  jesting  aside';  an  old 

alliterative  phrase  preserving  the  original  meaning  of  ©djimpf,  i.  e.,  'jest,' 
'  pleasantry.' 


310  NOTES. 

2659.    ($ltftCl£f(f)ai?,   'heavenly  creature  ';   one  fit  to  be  the  sweetheart 
of  an  angel. 

2674.    reiifftreit,  'succeed';   Fr.  reussir. 
2677.    reotbitett,  'reconnoitre ';   Lat.  revidcre. 


SUenb. 

2699.  IjeU'gett  Gljrift,  '  Christmas  gift.'  The  German  fiction  is  that 
the  gift  comes  from  the  Christ-child,  so  that  the  gift  itself  is  called  a  hetlU 
get  Sbrift,  or  (£briftfinbd)en;  so  we  sometimes  speak  of  a  child's  Christ- 
mas-gift as  his  Santa  Claus. 

2706.  bett  Sitltb  f riiufcllt  \  in  allusion  to  the  practice  of  sprinkling 
sand  on  the  floor  after  scrubbing.  Dainty  house-keepers  make  orna- 
mental patterns  of  the  sand,  —  hence  fraufelt. 

2709.    SBottltegrauS,  '  rapturous  awe.' 

2711-2.  £ter  bilbeteft  (bit) ttn$t  'here  (i.  e.,  in  the  bed)  thou 

didst  bring  to  perfection  the  angel  born  here';  etngeboren  in  the  sense  of 
innatus,  '  native '  to  a  particular  place. 

2716.  ClttUiirftC  ftrf),  '  wrought  itself  out.'  The  preceding  SJBeben  des- 
ignates the  silent,  mysterious  formative  process  by  which  the  work  was 
accomplished.  It  is  doubtful  whether  a  metaphor  of  weaving  a  tapestry- 
figure  is  intended. 

2727.  J)et  gtO^e  $dttd,  '  the  grand  gentleman.'  The  phrase  was  much 
used  in  the  i6th  and  1 7th  centuries  in  the  sense  of  'rich  man,'  'gentle- 
man,' in  contrast  with  fleitier  §an8  or  $leittb,an§,  '  common  man.'  Now 
it  usually  means  a  '  tall  fellow.' 

2732.  tt)0  nnber3,  '  in  another  place.'  Mephistopheles  makes  a  mys- 
tery of  the  source  of  his  treasures. 

2736.  The  sense  is  clear  from  U.,  which  has 

Urn  eine  ^ilrftin  }u  geroinnen. 

2737.  3^11? .     The  logic  seems  to  be :    With  such  costly  trinkets  you 
might  win  a  high-born  '  child '  (all  women  being  children  in  their  love  of 
finery),  instead  of  a  humble,  ignorant  girl.     To  be  sure,  though,  one  is  as 
good  as  another  for  our  game. 


NOTES.  311 

2748.  f el)t  brctu  ;  not,  ' you  look  on,'  but  simply,  '  you  look.'  The 
verb  is  often  so  used  by  Goethe,  e.  g.,  in  1.  2797.  Cf.  Grimm  Wb.,  II.,  773. 

2759-82.  In  Dicht.  u.  Wahr.,  Werke,  XXVIII.,  287,  Goethe  says  that 
he  recited  'The  King  of  Thule'  to  Jacobi  in  the  summer  of  1774  as  one  of 
his  '  latest  ballads.'  The  poem  was  published,  with  music  by  Seckendorff, 
in  1782,  the  text  agreeing  in  the  main,  but  not  exactly,  with  that  now 
found  in  U.,  in  which  the  first  two  stanzas  run : 

S3  roar  ein  fionig  in  Jule 
Cinen  golbnen  Sedjer  er  Ijett 
©tnpfangen  non  feiner  Sule 
Sluf  i^rem  ZobteSbert. 

$er  S3e$er  war  iljm  lieber 

Zrant  brau<3  Beij  jebetn  S^mauS. 
£ie  Slugen  gingen  ib,m  iiber 
So  offt  er  trant  barauS. 

These  two  stanzas,  it  will  be  seen,  underwent  a  radical  revision  for  Fgm., 
the  others  remained  substantially  unchanged. 

2759.  Jfjltlc  ;  the  ultima  Thule  of  the  Romans,  best  identified  with 
Mainland  of  the  Shetland  Isles. 

2763.    Q3  gtttg buriibcr,  '  he  prized  nothing  more  highly.' 

2790.  <2rf)OUT ;  South  German  dialect  for  fteb. 

2791.  tneinr  £ugcf  'in  my  life';   ace.  of  duration. 

2800.    man  Ifi^tT5  Olldj  fetn,  '  people  pass  it  all  by  just  the  same.' 


IN  U.  the  scene  is  headed  31 II e  e. 

2806.    baft  ify$  jhldjen  fiinntc;  not  'curse  it,'  but  '  use  it  to  swear  by.' 

2808.   So  fcin  ©cftd)t  =  fein  joldjes  ©eft^t. 

2817.    gar  cincn  feittcn  =  einen  gar  feinen. 

2824.  SBcfattgt,  '  makes  befangen,'  i.  e., '  perturbs,' '  deprives  of  peace.' 
—  3el)rt  Oltf ,  '  consumes,'  is  to  be  taken  literally.  The  mother  believes 
that  the  possession  of  ill-gotten  gains  causes  the  body  to  wither. 

2828.    Ijatt ;  a  South  German  expletive  having  such  meanings  as  frei« 


312  NOTES. 


lift),  bod),  eben,  ttobl,  getmft,  or,  in  Eng.,  'indeed,'  'to  be  sure,'  'you 
know,'  '  don't  you  see?'  —  ©cfdjCttftet  ($(Ull.  The  German  adage  of  the 
'  gift-horse  '  runs  :  (ginem  gefdjenften  ©aul  fieht  man  nidjt  in'8  3JtouI. 

2835.  An  allusion  to  Rev.  ii.,  where  blessings  are  promised  'to  him 
that  overcometh.' 

2838.  iifiergeffen.  ©effen,  for  geeffen,  is  the  earlier  pple.  of  effen,  ge« 
geffett  having  come  into  use  as  late  as  the  lyth  century.  The  form  used 
here  presupposes  a  separable  ftd)  iibereffeit,  pres.  id)  e[fe  irttd)  fiber  ;  but 
id)  iibereffe  mid)  is  usual. 

2843.   <Strtd)  ein  ;  from  einfkeidjen,  '  to  bag.' 

2857.  tttadjr,   'hurry!'     So  in  Lessing's  Nathan:  mad)',  erjal)!',  er= 
3abte. 

2858.  $OltgT  bid)  Ott  ;  like  our  colloquial  '  get  in  with.' 

2859.  SBtCt.     Porridge  is  thick  and  moves  slowly. 


$)er  9?  a  ci)  Bar  in 


2868.    atlf  bcm  ©tro^,  '  on  the  straw  ';  i.  e.,  bed  of  straw. 

2880.    Xljfit'S;  here  subjunctive. 

2882.    btt.     Cf.  note  to  1.  548. 

2890.  geiltett  fetyen  Ifi^t.  The  dat.  is  a  Gallicism,  Fr.  faire  voir  a 
guefyu'un. 

2892.    ntfllt  lltrtrijt  ....  tior,  'we  can  also  invent  some  story  for  her.' 

2894.  @3  jjcl)t  .  .  .  .  2)tngCtt,  'there's  something  wrong  about  it'; 
more  literally  :  '  It  does  not  happen  with  things  that  are  right.'  Cf.  Clavigo, 
act  v.  :  (§8  miijjte  mit  bent  Seufet  gugeben,  '  the  devil  would  have  to  be 
in  it.' 

2895+.    !l'orl)iijtgcl;  the  curtain  before  the  peep-hole  in  the  door. 

2906.   ^raulctn  ;  cf.  l.  2607,  note. 

2926.  9ltttoittu3.  The  finest  of  the  Paduan  churches  is  the  famous 
basilica  of  St.  Anthony,  where  the  bones  of  the  saint  rest  in  a  splendidly 
decorated  chapel.  Hence  the  humor  of  giving  the  drunken  vagabond 
Schwerdtlein  a  resting-place  close  to  St.  Anthony. 

*933-  ©djuuftiirf  ;  =  @djaumiinge,  '  medal.' 

2936.  bcttclt.     Supply  ol«  e«  ttjeggibt. 


NOTES.  313 

2954.  bfl£  cr  .  .  .  .  IjttttC,  '  that  he  would  deserve  a  worse  fate  still.' 
(StrodS  Ollf  ber  3ed)e  babett  is  '  to  have  something  on  the  score  '  against 
one.  §atte  is  potential  subj.  The  sense  is  :  He  found  that  if  he  were  to 
have  his  deserts  he  would  be  '  booked  '  for  a  worse  fate  than  dying  on  a  bed 
of  filth. 

2970.    cud)  ;  ethical  dat.     U.  has  instead  redjt  berjlicf). 

2981.  cin  ftpneS  ^raulein  ;  i.  e.,  a  courtesan.  The  following  lines 
are  a  gross  allusion  to  the  '  Neapolitan  evil  '  as  the  cause  of  Schwerdtlein's 
death. 

2982  .    9tapc(,  from  Italian  Napoli,  is  used  by  Goethe  also  in  Tasso,  1. 
3137,  and  in  the  Romische  Elegien.     The  usual  form  is  92eapel,  from 


2991.   Stftrtc  =  ouSfpaben,  'I  should  look  around.' 
3020.  ftrottleittS.    Cf.  1.  1837,  note- 


©  t  r  a  §  e. 

3025.    SBtlTS  forbcm,  'is  it  going  to  work?' 

3028.  9Zad)barT  SUlartfjctt ;  i.  e.,  9?ad)bar8  2Jtortb.en,  which  is  the 
reading  of  Fgm.  This  manner  of  designating  a  neighbor's  wife  (or  daugh- 
ter) is  common  in  popular  speech.  Thus  Freytag  writes :  §aft  bll  beut 
ttietteidjt  9?ad)bar8  9to8d)en  gejproc^en?  And  Matthison :  Sen  $ag,  tt)o 
S'io^barS  Sotte  gur  SSeil^enlefe  fam.  U.  has  9tod)baar  SJtart^en. 

3030.  3UOT ^tflCltncrttJCfcn,  '  for  the  business  of  a  gypsy  go- 
between'  (hendiadys).  The  gypsy  fortune-tellers  were  consulted  espe- 
cially in  love-affairs. 

3037.  Sancta  Simplicitas,  'sacred  simplicity';  the  words  spoken  by 
the  martyr  Huss  when,  at  the  stake,  he  saw  an  old  woman  throwing  a 
fagot  into  the  flames. 

3040.  ®0  ttfirt  lfyt'8  ttttn,  '  in  that  case  you  would  be  one  indeed,' 
i.  e.,  if  you  were  to  insist  on  going  to  Padua. 

3050.  20pI)tftC.  Mephisto's  sophistry  consists  in  his  implication  that 
the  honest  mistakes  of  the  theological  professor  are  on  a  par  with  delib- 
erate falsehood. 

3056.    2Birb;  supply  bie  SRebe  fein. 


314  NOTES. 

3069.  Wcrfjt  fidjalteit,  '  to  maintain  that  one  is  right,'  '  to  have  the 
last  word  '  in  an  argument. 

3072.  tpcil  t(f)  tttttfj.  In  saying  that  he  '  must '  consent  to  the  false- 
hood, Faust  means  that  he  is  so  under  the  domination  of  his  passion 
for  Gretchen  that  he  can  not  help  himself.  He  must  have  her,  can 
not  live  without  her ;  and  as  the  proposed  deceit  promises  to  accom- 
plish his  desire,  he  can  not  allow  himself  to  be  balked  by  scruples  of 
conscience. 


©  a  r  t  e  n. 

3081.  $ttC0mmobtrt ....  tttrfjt,  'don't  put  yourself  out'  by  conde- 
scending to  kiss  such  a  hand. 

3089.    roftfjeit,  'active.' 

3098.  bet  3freitttbe  hftufttj,  '  many  friends.'  The  construction  is  rare, 
if  not  unparallelled,  and  seems  due  to  a  blending  of  bte  j^reuttbe  (ace.) 
fyailftg  (i.  e.,  haitfentrjeife,  '  in  large  numbers ')  habeit,  and  bet  5reltn^e 
bide  baben. 

3114.    UCCUrat, '  economical.' 

3116.    tegett,  'make  a  stir.' 

3118.  Dot  bet  Stafot,  'in  the  suburbs  ';  but  Gretchen  and  her  mother 
live  in  the  city. 

3122.  mciltc  Uefce  sJf  OtI),  '  my  blessed  trials.'  ?ieb  is  used  with  a  touch 
of  irony  in  various  phrases,  like  bte  Uebe  ®ett)obnbett,  '  blessed  habit,'  ba8 
Uebc  Sinertet,  'the  blessed  routine.'  So  Goethe  writes,  Brieft,  I.,  233 
(he  has  been  speaking  of  his  past  illness  and  the  trouble  it  gave  to  his 
friends :  £)od)  id^  berbjente  SDtitleiben;  id)  batte  aud)  meine  Uebe  Soft 

3173.  (£3  fdjiett ....  nu^uuiaubcln,  '  it  just  seemed  to  come  over  him 
all  at  once.' 

3174.  fl'rabe  l^ttt  JU  bottbeln,  '  to  act  his  pleasure,'  '  do  as  he  pleased.' 
3176.    bcgontttc.      In  Goethe's  youth  this  was  the  preterit  form   of 

begmnen  that  came  most  naturally  to  him;   in  the  latter  part  of  his  life, 
begann.    Cf.  Grimm  Wb.,  I.,  1297. 

3188-94.     On  the  prose  cf.  note  to  11.  468-74. 


NOTES.  315 

3198.  tttetnoitb  tttd)t£.  The  double  negation  is  colloquial,  but  is  some- 
times used  by  Goethe  in  dignified  prose  ;  e.  g.,  in  the  Campagnc  in  Frank- 
reich,  Werke,  H.,  XXV.,  60:  3n  biefen  2tugenbUrfen,  too  9ttemanb  ttidjts 
gu  effen  batte  u.  f.  to. 


This  scene  is  really  a  part  of  the  preceding  one,  the  summer-house 
being  in  Martha's  garden.  Escaping,  half  in  frolic,  half  in  maidenly  alarm, 
from  Faust's  passionate  declaration  (11.  3188-94),  Gretchen  runs  into  the 
summer-house,  and  is  at  once  followed  by  Faust.  There  is  no  change  of 
time,  place  or  actors.  That  the  scene  has  a  separate  heading  (which  it 
has  in  U.  also)  is  probably  due  to  the  fact  that  it  took  shape  as  a  dramatic 
picture  by  itself.  There  are  also  two  other  indications  that,  when  it  was 
composed,  the  garden  scene  was  not  vividly  present  to  Goethe's  conscious- 
ness. (i)  In  1.  3206,  instead  of  t>0tt  §erjeit  fteb'  id)  bid),  Gretchen  is  made 
to  say,  in  U.,  fdjon  lange  lieb  id)  bid).  (2)  At  the  end  of  the  scene,  11. 
3213-4,  Gretchen  chides  herself  for  standing  'abashed'  before  Faust  and 
saying  '  yes  '  to  all  his  wise  talk.  In  fact,  however,  Faust  has  not  talked 
'wisely'  at  all  (as  he  does  later  in  the  following  scene),  and  she  has  been 
loquacious.  It  is  Faust  who  has  said  '  yes  '  to  her.  One  is  hardly  satisfied 
to  call  this  a  touch  of  nature  and  say  that  Gretchen  only  imagines  that  she 
has  appeared  stupid.  As  to  the  textual  change,  Goethe  would  hardly  have 
put  the  comparatively  neutral  and  tame  Don  $erjen  in  place  of  the  more 
significant  fdjoit  lange,  had  he  not  felt  the  latter  as  an  incongruity,  in  view 
of  the  close  sequence  of  the  two  scenes. 


SSatb  itnb  §51)1  e. 

The  idea  and  genesis  of  this  scene,  its  original  position  after  the  scene 
'  At  the  Well,'  its  later  transposition  to  where  we  now  find  it,  and  the  diffi- 
culties thus  created,  are  discussed  at  some  length  in  Intr.  Hii-iv  and  Ixii-iii. 

3217.  ®tt  flflbft-  This  '  giving '  can  not  of  course  refer  to  the  occasion 
of  the  Spirit's  appearance  in  11.  482-513,  where  nothing  is  given  or  prom- 


316  NOTES. 

ised.  Nor  is  it  likely  that  Goethe,  so  late  as  when  these  lines  were  written 
(1788-9),  was  planning  a  second  citation  of  the  Spirit  by  Faust.  The 
right  understanding  of  the  matter  is  rather  this :  The  Earth-Spirit  is  a 
symbol  of  nature,  who  gives  to  man  all  things  that  come  to  him.  For  this 
'giving,'  no  appearance  in  personal  form  is  necessary — just  as  Goethe 
thought  that  the  best  worship  of  Nature  was  a  spiritual  communion  for 
which  no  visible  symbol  was  needed.  Cf.  Intr.  p.  liii. 

3222.  fait  ftauttenbeit  SBefltd) ;  the  perfunctory  visit  of  the  gazing 
tourist. 

3226.  JHCtltC  Sriiber.  The  sense  of  man's  kinship  with  all  living 
things  was  with  Goethe  at  first  a  mere  poetic  sentiment — a  part  of  his 
youthful  nature-worship.  Cf.  Werther's  second  letter :  '  When  I  lie  down 

in  the  tall  grass  by  the  falling  brook,  and,  closer  to  earth, feel  nearer 

to  my  heart  the  thronging  multitude  of  the  little  world,  the  countless,  in- 
scrutable forms  of  worms  and  gnats,  and  feel  the  presence  of  the  Almighty 
who  created  us  in  his  image,  etc.'  —  Later,  the  sentiment  became  a 
serious  scientific  opinion.  Cf.  the  letter  to  Knebel,  of  Nov.  17,  1784: 
'  Man  is  most  closely  related  to  the  lower  animals,'  etc. 

3231.    tljrcnt  gfall,  'at  its  fall';   a  kind  of  responsive  dative. 

3238.  filiicrnc  Oicjtaltctt.  The  '  silvery  forms  of  the  earlier  world '  are 
the  oreads  (ttort  5elfenroSnben)  and  dryads  (cm§  bem  feudjtett  23ltfd))  of 
the  Greeks. 

3249.    Wcituj?.     Cf.  Intr.  p.  Ixiii,  foot-note. 

3254.    Wcncit ;  metri  gratia  for  Uieuent. 

3256.  am  guteti  £ag;  =  an  etnem  guten  £ag,  '  on  one  of  my  good 
days.' 

3265.    t>aj?  cr  Ittidj  eitttUtyirt,  '  for  boring  me';   Fr.  ennuycr. 

3268.    $lftl)£ifral)3,  '  hodge-podge,'  '  confused  medley.' 

3270-1.  The  meaning  is:  If  I  had  not  called  you  away  from  your  life 
of  solitary  brooding  and  morbid  introspection,  you  would  have  committed 
suicide  ere  now.  But  see  also  the  introductory  note  to  the  scene  '  Before 
the  Gate.' 

3272-3.  2Ba£  tyaft ....  ticrfiljcn,  '  what  is  the  matter  with  you  to  be 
sitting  out  your  days  like  an  owl '  ? 

3277.  Doctor.  A  '  doctor '  might  be  spending  his  time  thus  in  the 
interest  of  science. 


NOTES.  317 

3285-90.    On  the  imagery,  cf.  11.  614  ff. 

3286.  ttttt ....  burdjttitljlen,  '  permeate  with  bodeful  impetuosity.' 

3287.  tyifle  fed)3  £ogett>crIT ;  i.  e. '  all  creation.' 
3290.   bet  (Stbettfoljtt  ;  nominative  absolute. 

3294.  geftttet ;  to  be  taken  as  adj.  with  pfili.  The  sense  is:  It's  all 
very  well  for  you  to  pronounce  your  high-moral  '  shame  ! ' 

3298.  (SJelecjentlid) ....  toor§ttliigett,  '  to  delude  yourself  a  little  now 
and  then ';  namely,  with  these  grand  self-communings  in  the  woods. 

3300.  nbfjctrictiClt,  '  exhausted.'     The  word  is  sometimes  applied  to  a 
horse  tired  from  over-driving,  or  a  wild  beast  exhausted  by  the  chase.    The 
idea  is  that  human  wit  can  not  endure  very  long  a  life  of  solitary  brooding 
and  Faust  is  already  '  again  '  (i.  e.,  as  in  11.  1544-1606)  at  the  point  of  ex- 
haustion. 

3301.  flufgeriefjett, '  used  up.'     The  meaning  is :  You  will  be  reduced 
to  sheer  insanity. 

3312.  Hejj?  t§,  'it  would  become.' 

3313.  nffcitjuiti'jc;  quoted  in  Grimm  Wb.  only  for  this  passage  and 
denned  Btutjung,  i.  e.  '  very  young.'     It  would  seem  as  if  btt8  affettjunge 
S3Iut  were  a   comical   transposition   of   ber  btlttjunge    Slffe,  '  the   young 
ninny.'     In  1.  3521,  Gretchen  is  called  a  ©raSaffe. 

3318.  293etttt  id)  .  .  .  .  tofir T  >  the  beginning  of  a  well-known  folk-song 
which  continues : 

ttnb  aud>  3»et  glttgletn  IjStt', 
gldg'  icf)  ju  btr. 

3325.    ©ett,  '  indeed ! '  '  right  you  are ! ' 

3334-    ficifi  bC)8  ^Ctrn;  the  holy  wafer  of  the  sacrament. 

3337-    3wUHtt8^1'a(Hrt  in  allusion  to  Song  of  Solomon  iv.  5. 

3345-69.  These  lines  occur  in  U.  in  another  connection,  being  spoken 
by  Faust  when  on  his  way  to  visit  Gretchen  at  night  —  the  visit  which  was 
to  result  in  Valentin's  death. 

3346.    Sfljj;  conditional  imperative. 

3352.    bltmpf CH  '  dim,' '  vague.' 

3360.  ntufjtc.  On  the  original  implication  of  the  tense  cf.  Intr.  pp^ 
liv,  Ixiii. 

3367.  ($el)  ettt.  When  it  was  first  written  this  meant  '  go  into  Gret- 
chen's  house  ';  now  it  means  '  go  into  the  city.' 


318  NOTES. 

3369.    er;  i.  e.,  $oj)f,  implied  in  $opfdjen.     U.  has  eg, 
3371.    CtngctCttfcW,  '  diabolized.' 


®retd)ett§  ©tube. 


These  stanzas  are  probably  to  be  taken  as  a  lyric  monologue  rather  than 
a  song.  They  seem  to  have  been  written  originally  as  one  in  a  crescendo 
of  such  monologues  picturing  Gretchen  alone  with  her  shame  and  sorrow; 
for  the  lines  read  naturally  only  on  the  presupposition  that  Gretchen  has 
already  fallen  and  been,  at  least  temporarily,  deserted  by  her  lover.  This 
desertion  is  now  sufficiently  provided  for  by  '  Forest  and  Cavern,'  and  this 
may  have  been  one  of  the  reasons  for  inserting  that  scene  where  we  now 
have  it.  On  the  other  hand  the  scene  stands  in  U.,  as  in  the  final  version, 
just  before  the  '  catechization';  which  requires  it  to  be  read  under  the 
presupposition  of  Gretchen's  innocence.  It  appears  possible  that  the 
scene  was  given  its  position  originally  in  order  to  break  the  succession  of 
three  scenes  in  Martha's  garden. 


2ftartl)en3  ©artett. 

In  writing  this  scene  the  poet  evidently  presupposed  a  longer  acquaint- 
ance between  Faust  and  Gretchen  than  is  implied  in  what  precedes. 
Gretchen  has  had  opportunity  to  find  out  that  her  lover  does  not  go  to 
church  and  is  not  devout  in  her  way.  She  has  '  long '  been  troubled 
(1.  3469)  at  seeing  him  in  the  company  of  Mephistopheles,  etc. 

In  what  Faust  here  says  of  religion  we  of  course  hear  the  youthful 
Goethe.  In  Kestner's  Goethe  und  Werther,  p.  35  ff.,  there  is  a  description 
of  Goethe  as  he  appeared  to  Kestner  after  a  short  acquaintance  at  Wetzlar 
in  the  summer  of  1772  —  a  description  which,  so  far  as  it  concerns  reli- 
gion, coincides  remarkably  with  Faust's  utterances.  For  example,  Kestner 
>vrites :  '  He  doesn't  go  to  church  nor  to  communion  (cf.  11.  3423-5) ;  he 
is  not  what  is  called  orthodox,  but  not  from  pride  or  caprice  ....  he  does 
not  like  to  disturb  others  in  their  settled  ideas  (cf.  1.  3420) ;  he  honors 


NOTES.  319 

the  Christian  religion  (cf.  1.  3424),  but  not  in  the  form  in  which  our  theo- 
logians present  it  (cf.  11.  3428-9) ;  he  is  eager  for  the  truth,  but  cares  more 
for  the  feeling  than  the  demonstration  of  it'  (cf.  11.  3451-8).  All  this  sug- 
gests (one  can  hardly  say  proves)  that  the  catechization  may  be  a  poetic 
rendition  of  religious  conversations  at  Wetzlar,  with  the  imaginary  triad 
Faust-Gretchen-Mephistopheles  replacing  the  real  one  Goethe-Lotte-Merck. 
Cf.  Mertens  in  G.-J.,  IX.,  237. 

34.14.  .ftcttmd).  In  the  legend  Faust's  name  is  Johann,  but  this  name 
had  been  made  vulgar  and  ridiculous  by  the  associations  of  the  popular 
Faust-drama  and  the  puppet-plays.  See  Intr.  p.  xx.  Hence  the  change 
of  the  name.  The  choice  of  '  Heinrich '  is  either  purely  arbitrary  or,  per- 
haps, a  compliment  to  Goethe's  friend  Friedrich  Heinrich  Jacobi.  Cf. 
Minor  in  G.-J.,  VIII.,  232. 

3415.    ttJtC  Ijoft  btt'3  mit,  '  how  do  you  feel  about '? 

3422.  SBetttt  id)  .  .  .  .  fiwnte,  'if  I  could  influence  you  a  little ';  — 
h>enn  id)  etroaS  iiber  bid)  »ermod)te. 

3428-30.  The  meaning  is  that  the  '  priest '  or  '  sage  '  will  answer  with 
formal  statements,  propositions,  names  etc.,  which  are  all  ridiculously  in- 
adequate to  express  the  infinite  content  of  feeling  that  ought  to  be  implied 
in  the  word  '  God.'  This  and  the  following  speech  of  Faust  need  to  be 
read  in  the  light  of  Goethe's  first  letter  to  Auguste  Stolberg,  written  Jan. 
26,  1775.  It  begins:  2Jteine  £eure —  id)  toil!  3bnen  feinen  Sfabmen 
geben,  bemt  roa8  ftnb  bie  9M)men  greunbinn,  @d)tt)efier,  ©eltebte,  53raut, 
©attin,  ober  etn  SBort  ba«  einett  Sompley  »on  aH  benen  Cabmen  begriffe, 
gegen  ba«  unmittdbare  ©efiih,!?  ....  3d)  fiible  @ie  fonnen  ibn  tragen, 
btefen  jerfludten,  ftammelnben  2lu«bru(f,  tcenn  ba8  93ilb  be«  UnenbHdjen  in 
un«  roublt.  Unb  ttaS  i|l  ba«  al8  Siebe ! 

3434.  fllaitb'  it)U  ;  ==  glaub'  an  ibn.  Thus  also  in  Meister  Goethe 
writes :  @o  gtauben  @ie  fein  @d)idfat  ? 

3438-58.  The  thought  may  be  paraphrased  in  plain  prose  thus :  The 
Infinite  is  all  about  us  and  within  us,  —  in  sky  and  earth  and  star  and  in 
the  mysterious  thronging  emotions  of  our  hearts.  If  we  but/<r*/  the  great- 
ness of  this  omnipresent  Divinity,  that  is  enough.  Names'and  formulae  are 
are  of  no  importance.  On  this  passage  cf.  G.-J.,  I.  20 1. 

3451.    fo  jjroft  C3  iff,  L  e.,  your  whole  heart. 

3460-1.  The  priest  says  also  that  God  is  omnipresent  and  that  religion 
is  a  matter  of  the  heart. 


320  NOTES. 

3488.    tttdjt3  fctnctt.     Cf.  1.  3198,  note. 

3511.  Jyliifrf)rf)en.     The  only  natural  presumption  is  that  Faust  has 
brought  the  opiate  in  order  to  be  prepared  for  this  very  contingency. 

3512.  in  Ujrett  Xrcuf ;  supply  gegoffen. 

3521.  ©rd£affT.  Cf.  1.  3313,  note.  The  lexicographers  do  not  ex- 
plain the  word,  but  it  seems  to  have  been  suggested  by  monkeys  frolicking 
in  the  grass.  Heyne  Wb.,  quoting  this  passage  calls,  it  a  @d)impftt>ort,  but, 
Goethe  sometimes  uses  it  as  a  term  of  jocose  endearment,  applying  it  e.  g., 
to  Lili  as  married  woman  and  to  the  children  of  Frau  von  Stein.  Trans- 
late '  kitten.' 

3523.  Untrbctt ;  'plu.  of  majesty,'  with  a  title.     Cf.  Brandt  §  311,  2. 

3524.  yUjHCH.     Mephistopheles  addresses  Faust  with  bit,  (Sr,  or  iftr, 
but  never  elsewhere  with  @ie.     The  latter  is  used  here  only  on  account  of 
the  preceding  §err  2)OCtor  ttmrbett. 

3525-   9KabcI3.    Cf.  l.  1837,  note. 

3532.  Ijctltg  ;  to  be  taken  in  the  dialectic  sense  of  fefir,  ganj  befotu 
betS  —  like  Eng.  '  awfully.' 

3536.    ©pottgctmrt;  =  @pott  erregenbe  ©eburt,  '  monstrous  progeny.' 


51  m  23  r  it  tine  tt. 

The  final  revision  of  Faust  requires  us  to  presuppose  for  this  scene 
that  on  the  night  mentioned  in  1.  3541,  Gretchen  carelessly  gave  her 
mother  too  much  of  the  opiate  (1.  3511)  and  so  caused  her  death.  This 
scene  takes  place  after  a  lapse  of  some  time,  during  which  Gretchen  has 
led  a  quiet  life  (1.  3545)  alone  with  her  shame  and  remorse.  When  the 
scene  was  first  written,  however,  the  presupposition  was  somewhat  differ- 
ent. See  the  introductory  note  to  the  scene  '  Cathedral.' 

3546.    3tl)l)((c  ;  probably  the  name  of  some  girl  friend. 

3556.    Glirteftrt,  '  courted.' 

3560.  ($cfd)lecf  ;  vulgar  for  ©efiiffe. 

3561.  S3lihttrf)Clt  ;  the  flower  of  maidenhood,  Lat./?oj. 

3569.  Sitn!)Cl'l)Clut>rf)eitf  'sinner's  smock';  an  allusion  to  the  practice 
of  requiring  public  penance,  deprecatio  publica  in  templo,  in  a  garb  sym- 
bolical of  humiliation. 


NOTES.  321 

3575-  retften ;  in  the  sense  of  jerretfjen. 

3576-  ^>fitferling,   'chopped  straw'  instead  of   the   flowers  which   a 
chaste  bride  would  receive. 

3581.    fdjttwrst'S  «0d)  gar.     '  I  actually  even  made  it  black.' 
3584.    bet  iSitltbe  bloft,    'given  over  to  sin';    bfofj  in  the  sense  of 
blofjgeftettt,  preiSgegeben.    See  Grimm,  Wb.  II.,  146. 


3  ID  i  n  g  e  r. 

The  term  '  Zwinger,'  applied  first  to  the  space  between  the  main  wall  of 
a  castle  or  city  and  the  encompassing  moat,  means  here  the  unoccupied 
space  between  the  wall  and  the  nearest  buildings  within.  In  the  wall  is  a 
shrine  containing  an  image  of  the  Sorrowing  Mother  gazing  at  her  Son 
upon  the  cross,  her  heart  pierced  by  a  sword  (Luke  ii,  35).  At  this  shrine 
Gretchen  is  wont  to  worship. 

With  reference  to  the  final  revision  of  Faust  we  -nay  suppose  this  scene 
either  to  follow  very  closely  upon  the  preceding  or  to  be  separated  from  it 
by  an  interval  of  weeks.  Originally,  however,  there  can  be  little  doubt  that 
it  was  meant  to  be  taken  as  expressing  Gretchen's  first  agony  of  remorse 
on  finding  that  she  had  caused  the  death  of  her  mother.  Cf.  the  intro- 
ductory note  to  the  scene  '  Cathedral.' 

Writing  Oct.  n,  1775,  to  Frau  La  Roche,  who  was  just  then  anxious 
about  her  son,  Goethe  uses  the  expression :  '  Alas  that  fate  thrusts  such 
swords  at  the  hearts  of  mothers!'  This  has  led  to  the  conjecture  that  the 
scene  '  Zwinger '  may  have  been  of  contemporary  origin  with  the  letter.  Cf. 
D.  Jacoby  in  G.-J.,  I.,  187. 

3599.  2Ba§ :  cognate  ace.  with  the  intransitive  bangeit.  The  mean- 
mg  is:  Thou  only  knowest  my  poor  heart's  distress,  its  trembling,  its 
longing. 


On  this  scene  cf.  Intr.  pp.  lii  and  Ixiii.     Only  the  opening  11.  3620-45 
and  the  11.  3650-9  are  found  in  U.,  but  the  greater  part  of  the  scene  is 


322  NOTES. 

quite  certainly  of  early  origin,  (i)  The  general  style  in  its  vivid,  popular 
realism  is  that  of  Goethe's  pre-Weimarian  period;  (2)  specific  phrases 
point  to  an  early  date  of  composition  (cf.  the  notes  to  11.  3706,  3760); 
(3)  Faust  is  here  an  uneasy  libertine  on  his  way  for  one  of  his  habitual 
visits  to  his  paramour  (11.  3674-5).  On  the  other  hand  the  reference  to 
Walpurgis-Night,  in  1.  3661,  is  undoubtedly  a  late  intercalation. 
3620.  fo,  '  you  know,' '  as  I  often  did.' 

3622.  t$I0r,  '  blooming  beauty." 

3623.  lout  gepriefett  tour.    Construe :  SBetm . . . .  bie  ©efeflen  —  laiit 
Dorgepriefen  fatten. 

3624.  ticrfdjluemtttt,  'washed  down';  the  construction  like  that  of  ge= 
priefett. 

3633.  Staffer  reidjt ;  like  our  idiom  '  hold  a  candle  to.' 

3634.  £op!  is  an  expression  of  approval  =  '  right  you  are.'     $Iittg  ! 
.ftlflitg  J  describes  the  clinking  of  glasses  in  token  of  assent. 

3638-9.  The  sense  is:  It's  enough  to  make  one  tear  out  one's  hair 
and  (try  to)  rush  up  the  walls,  as  a  caged  beast  does  in  his  impotent 
rage. 

3644.    jufammettfdjmeiftett,  '  smash  their  heads  together.' 

3650.  (SoCftftei.    The  dialogue  is  to  be  thought  of  as  taking  place  while 
the  speakers  walk  along  the  streets  of  the  city  on  their  way  to  Gretchen's 
house.     @OCriftei,   usually   'vestry-room,'  but   here   apparently  a  chapel 
pertaining  to  some  church,  probably  the  '  cathedral '  of  the  next  scene. 

3651.  etp'gett  i!iimpd)Clt£  ;  an  altar-lamp  burning  night  and  day. 

3655.  frt)iuiid)ttg,    not  'lean'   but   'languishing,'   in  a  coarse  sense. 
M.  H.  G.  smahtec  meant  '  hungry.' 

3656.  (ycitcrlcttcrn,  'fire-escapes.' 
3659.    Wammelei,  '  lustfulness.' 

3661.  SBafyttrgiSnadjt.  Since  the  Walpurgis-Night  comes  on  the 
eve  of  May-day,  the  date  of  this  scene,  in  view  of  iibermorgen  in  1.  3662,  is 
April  29 ;  and  since  the  action  of  Faust  begins  at  Easter  all  the  preceding 
scenes  must  be  thought  of  as  taking  place  in  the  month  of  April.  But  see 
the  introductory  note  to  the  next  scene. 

3664.  2d)ttty.  German  folk-lore  taught  that  a  phosphorescent  light 
near  the  ground  betokens  a  subterraneous  treasure  just  below;  or,  as 
Goethe  here  conceives  the  superstition,  that  a  treasure  is  trying  to  make 
its  way  up  to  the  surface. 


NOTES.  323 

3869.  ViitUCtttljalcr,  'lion-dollars';  in  allusion  to  the  'dollars'  first 
coined  in  Bohemia,  in  the  I5th  century.  They  were  called  3oaif)ittt8tbaler 
rrom  the  Joachimsthal  where  they  were  first  made,  and  SolDenthttler 
because  stamped  with  the  royal  lion  of  Bohemia. 

3678.    boiler.     See  Brandt  §  219, 1. 

3682-97.  The  song  is  adapted  from  Ophelia's  song  in  Hamlet,  IV.,  5. 
Of  this  innocent  theft  Goethe  said  to  Eckermann,  Jan.  18,  1825  :  'Thus 
my  Mephistopheles  sings  a  song  of  Shakespeare,  and  why  shouldn't  he? 
Why  should  1  take  the  trouble  to  invent  one  of  my  own,  when  Shake- 
speare's was  just  the  thing  and  said  what  was  needed '? 

3698.  lict'ltt  (VlcJHCUt  J  a  very  common  imprecation  which  no  lexico- 
grapher has  explained. 

3699.  JJiottCttfongcr  ;  possibly  suggested  by  Shakespeare's  '  Tybalt, 
you  rat-catcher,  will  you  walk  ? "  in  Romeo  and  Juliet,  III,  i. 

3702.  an  fcer  ....  Ijalteit ;  =  barouf  ift  nidjts  gu  balten, '  that's  of  no 
use.' 

3706.  (yfcberroifdj,  'duster';  a  cant  term  for  'sword.'  In  Goethe's 
Claudim,  as  finished  in  April-June,  1775,  are  introduced  'three 
vagabonds  standing  at  a  table  and  playing  dice.'  One  of  these,  Crugantino, 
with  sword  at  his  side  and  cithera  in  hand,  sings  a  song  in  which  occur  the 
words : 

'SRou«,  feurifl,  ifrif$ 
Sen  gieberiDifdj ! 

This  points  to  an  early  origin  for  the  Faust- Valentin  encounter.    Cf.  Jacoby 
in  G.-J.,  I.,  197. 

3714-5.  The  meaning  is,  according  to  Loeper,  that  Mephistopheles  can 
trick  the  police,  they  being  a  purely  human  institution;  but  the  criminal 
court  (33lutbann),  having  jurisdiction  in  capital  crimes  and  deriving  its 
authority  from  God,  is  harder  for  the  devil  to  manage. 

3760.    ^ontntererfcn  ;  the  old  weak  ace.,  M.  H.  G.  ecken. 

3769.  SSergcbung  reidjc  2Knft.  2ftafe  is  the  obsolete  fem.,  bie  SUtofj 
'measure,'  and  the  construction  a  sort  of  appositional  ace.;  as  one  might 
say  in  Eng.  '  forgiveness  plenty,'  for  '  abundant  pardon.'  But  reidje 
really  performs  the  function  of  the  adverb  retdjer  2Jtofjett. 


324  NOTES. 


On  this  scene  cf.  Intr.  pp.  lii  and  Ixiii  ff.  As  is  there  noted,  the  scene 
has  in  U.  the  heading  '  Obsequies  of  Gretchen's  Mother,'  which  fact,  taken 
with  11.  3790-3,  shows  that  the  swoon  in  the  cathedral  can  not  have  been 
thought  of  at  first  as  occurring  soon  after  the  time  referred  to  in  1.  3542. 
The  chronology  was  rather  conceived  in  this  way :  Gretchen's  first  trial  of 
the  opiate  was  to  leave  the  mother  uninjured,  and  then  the  experiment  was 
to  be  repeated  at  subsequent  visits.  There  would  then  be  an  interval 
during  which  Gretchen,  conscious  of  her  shame,  would  '  go  but  little  among 
people  '  (1.  3545),  and  here  would  come  the  scene  '  At  the  Well.'  After  a 
lapse  of  months  there  was  to  be  a  visit  of  Faust,  in  anticipation  of  which 
Gretchen,  now  perhaps  grown  careless,  should  give  too  much  of  the  poison 
and  so  cause  her  mother's  death.  On  the  morning  of  the  next  day  but 
one  would  come  the  scene  '  Zwinger  '  with  Gretchen's  agonized  prayer  to 
be  saved  from  '  shame  and  death,'  and  then,  on  the  day  of  the  funeral,  the 
scene  '  Cathedral.'  This  was  then  to  be  followed  by  the  visit  which  should 
result  in  Valentin's  death  (for  in  U.  the  Valentin  scene  comes  after  '  Ca- 
thedral ')  and  give  occasion  for  Faust's  flight  and  long  absence.  The 
'  dismal  day '  of  the  prose  scene  would  then  be  a  day  of  the  ensuing  year. 

On  the  final  revision,  however,  this  chronology  was  hopelessly  confused, 
so  that  it  is  not  now  possible  to  make  the  love-tragedy  read  naturally  on 
any  supposition  whatever.  The  confusion  seems  to  have  had  two  sources : 
first,  the  introduction  of  the  fixed  dates,  Easter  and  Walpurgis-Night ;  and, 
secondly,  a  purpose  never  thoroughly  carried  out,  to  ennoble  the  character 
of  Gretchen  by  letting  it  appear  that  she  had  sinned  but  once.  Cf.  Intr. 
p.  Ixiii.  Goethe's  final  intention  seems  to  have  been  to  have  it  understood 
that  the  opiate  proved  fatal  on  the  first  night.  Then,  since  the  scene  '  Ca- 
thedral '  presupposed  a  considerable  lapse  of  time,  he  omitted  the  heading 
which  told  that  the  occasion  was  the  funeral  of  the  mother.  Moreover, 
since  the  Valentin  scene  was  to  prepare  the  way  for  the  Walpurgis-Night, 
it  had  to  come  before  instead  of  after  'Cathedral';  and  this  adjustment 
being  made,  1.  3789,  with  its  allusion  to  Valentin's  death,  was  intercalated 
in  the  final  draft. 

But  now  these  presuppositions  require  us  to  assume  that  Gretchen  in 


NOTES.  325 

the  scene  '  At  the  Well '  is  already  burdened  with  the  guilt  of  her  mother's 
death;  which  makes  her  gossipy  conversation  with  Lieschen  appear  un- 
thinkable. Again,  '  Cathedral '  can  not  on  account  of  11.  3790—3,  come 
naturally  before  Walpurgis-Night;  unless  indeed  it  were  to  be  the  Night 
of  the  ensuing  year,  a  supposition  which  is  made  impossible  by  the  liber* 
morgen  of  1.  3662. 

3775+-  ®retrf)en  utttcr  trident  Solfc.  U.  has,  instead,  ©retgen  atte 
33ertt>anbte.  The  Sofer  ©etjt  is  a  personification  of  Gretchen's  tormenting 
conscience. 

3779.  ttergriffttClt,  '  well-worn '  from  handling.     U.  has  tierblfitterten. 

3780.  Ojebcte   lallteft,   'prattled  prayers.'    U.  has    beinen  ©ebeten 
narfjlatttejt. 

3791.  JRejjt  ftd)£  .  .  .  fd)0tt,  '  is  there  not  already  a  quickening  stir? ' 

3792.  fid).     The  child  is  assumed  to  share  and  to  increase  the  mother's 
agitation. 

3796.    mtr,  '  for  me,'  i.  e., '  in  my  mind  ' :  a  loose  dat.  of  interest. 

3797-    SBtber  mid),  '  accusing  me.' 

3798-9.  Dies  irae  .  .  .  favilla.  '  Day  of  wrath,  that  day  shall  dissolve 
the  world  in  ashes';  the  opening  lines  of  the  famous  'sequence'  Dies 
Irae,  composed  by  Thomas  Celano  in  the  I3th  century. 

3800-7.  The  Evil  Spirit  here  voices  Gretchen's  dread  of  the  resurrec- 
tion. 

3806.    SBieber  aufgcfdjaffen,  '  brought  forth  anew.' 

3810.    ben  9ttt)cm  Derfeljte,  '  were  choking  me.' 

3813-5.  Judex  .  .  .  remanebit.  '  When  therefore  the  Judge  shall  be 
seated,  whatever  is  hidden  shall  appear,  nothing  shall  remain  unpunished.' 

3821.    SBcrbtrg  bid)  ;  ironical,  '  Wouldst  hide  thyself?  ' 

3825-7.  Quid  sum  .  .  .  securus.  '  What  then  shall  I  say  in  my 
wretchedness  ?  What  protector  shall  I  invoke  when  scarcely  the  just  man 
shall  be  secure  ?  ' 

3833.  As  Diintzer  observes,  it  is  not  obvious  why  the  chorus  should 
repeat  the  preceding  stanza  instead  of  beginning  the  next  one.     Probably 
a  mere  inadvertence  on  Goethe's  part. 

3834.  3flafd)d)ett,  '  smelling-bottle.' 


326  NOTES. 


A  dated  manuscript  in  the  Royal  Library  at  Berlin  indicates  that  this 
scene  was  begun  in  Nov.,  1800,  and  finished  in  Feb.,  1801.  Its  drama- 
turgical aspects  are  discussed  at  length  in  Intr.  pp.  Ixiv  ff. 

Walpurgis,  or  Walpurga,  was  an  English  nun  who  died  Feb.  25,  779  as 
abbess  of  a  Benedictine  convent  in  Bavaria.  Her  day  in  the  calendar  falls 
on  May  I,  a  day  connected  among  the  ancient  Germans  with  various  po- 
litical and  religious  observances.  Cf.  Grimm  D.  M.,  II.,  878.  As  the  old 
heathen  conceptions  lingered  on  under  new  forms,  Walpurga's  Day,  or 
rather  the  night  preceding  it,  came  to  be  associated  with  various  supersti- 
tions pertaining  to  the  1st  of  May,  but  especially  with  that  of  a  great  an- 
nual conclave  of  witches.  The  tradition  of  such  a  conclave  on  the  Brocken, 
the  highest  point  of  the  Harz  Mts.,  goes  back  at  least  as  far  as  the  I5th 
century,  and  is  famous  in  German  folk-lore.  The  Brocken,  Lat.  mons 
Bructerus,  rises  some  3600  ft.  above  the  sea.  Its  summit  is  treeless  and 
covered  with  granite  blocks  (whence,  presumably,  the  favorite  popular 
name  of  '  Blocksberg,')  among  which  the  modern  tourist  is  still  shown  a 
Hexenkanzel  or  -altar,  a  Hexentanzplatz  and  a  Hexenwaschbecken. 
For  the  literary  sources  of  Goethe's  witch-  and  devil-lore  see  Wit- 
kowski,  p.  18  ff. 

The  Faust-legend  does  not  connect  its  hero  in  any  way  with  the  May 
carnival;  but  a  poem  on  the  Walpurgis-Night,  published  in  1756  by  J.  F. 
Lowen,  introduces  Dr.  Faust  upon  the  Brocken  and  gives  him  a  seat  at 
the  left  hand  of  Beelzebub.  As  Goethe  refers  to  Lowen's  poem  in  the  6th 
book  of  Dicht.  u.  Wahr.,  it  is  fair  to  presume  that  he  may  have  got  from 
that  source  the  suggestion  of  taking  his  own  Faust  to  the  Blocksberg  fes- 
tival. In  Dec.,  1777,  Goethe  paid  a  visit  to  the  Brocken  which  gave  him 
familiarity  with  the  place,  but  Schroer's  conjecture  that  he  was  thinking  of 
Faust  at  this  time  is  unsupported  by  any  positive  evidence. 

3834+.  <5d)ierfe  ttnb  (£lcitb.  These  are  two  neighboring  villages 
lying  southward  from  the  Brocken.  From  Schierke,  the  higher  of  the  two, 
it  is  an  easy  walk  of  about  two  hours  to  the  summit. 

3851-2.  On  Feb.  26,  1824,  Goethe  said  to  Eckermann,  that  while  he 
had  been  able  to  portray  Faust's  world-weariness  and  Gretchen's  love  by 
'  anticipation,'  it  required  some  observation  of  nature  to  write  these  two 
lines. 


NOTES.  327 

The  ignis  fatuus,  Eng.  Jack-o'-Lantern  or  Will-o'- 
the-Wisp,  is  regarded  in  Germanic  folk-lore  as  an  evil  spirit  that  delights 
in  luring  travelers  from  their  way  and  leading  them  to  destruction.  It  is 
thus,  naturally,  a  minion  of  the  devil. 

3863.  Mephistopheles  means  that  Will-o'-the-Wisp's  zigzag  is  pat- 
terned after  the  devious  course  of  men  through  life. 

3871-3911.  The  distribution  of  the  solos  was  not  indicated  by  Goethe, 
and  has  been  matter  of  much  discussion.  The  third  clearly  belongs  to 
Faust  and  the  fourth  to  Mephistopheles.  The  fifth,  on  account  of  the  allu- 
sion to  the  irren  £id)ter,  which  would  hardly  be  so  noteworthy  to  Irr- 
licht  himself,  seems  also  best  assigned  to  Faust.  As  to  the  first,  the  fcfjeint 
e8  of  1.  3872  seems  to  indicate  a  mental  uncertainty,  which  would  not  be 
expected  of  Mephistopheles,  who  must  be  supposed  to  know  the  locality 
perfectly.  On  the  other  hand,  the  mandatory  fiihr'  un§  of  1.  3873  suggests 
Mephistopheles  rather  than  Faust.  In  any  case,  the  second  strophe  must 
be  assigned  to  Will-o'-the-Wisp.  The  songs  represent  a  swift  transition  by 
magic,  just  as  in  11.  9078  ff. 

3876.   <5eI)T;  i.  e.,  idj  fehe. 

3880.  fri)narrf)Clt.  Two  granite  rocks  near  Schierke  have  long  borne 
the  name  of  bic  ©djttarcJjer,  '  the  Snorers.' 

3885-6.  Faust  sings  in  elegiac  tone,  as  if  '  those  heavenly  days '  of 
youthful  hope  and  love  were  far  away,  as  they  actually  were  for  the  poet 
who  penned  the  lines.  The  words,  like  the  whole  scene,  were  written  with 
little  concern  for  the  inner  requirements  of  the  Gretchen-tragedy.  Cf. 
Intr.  p.  Ixv. 

3889.  U1)U  !  3d)ltf)U !  here  an  imitation  of  the  night-owl's  hoot.  The 
words  are  also  onomatopoetic  names  of  the  owl. 

3892.  sJDJol(i)C.  We  may  think  either  of  actual  salamanders  abroad,  as 
minions  of  the  devil,  on  the  uncanny  mountain,  or  only  of  something  that 
looks  like  salamanders.  The  idea  of  the  song  is,  in  part  at  least,  to  voice 
the  weird  fancies  one  has  in  going  through  a  wild  region  in  the  night 
Thus  the  mice  of  1.  3900  may  be  the  moonbeams  glancing  here  and  there 
upon  the  ground.  But  bright-colored  mice  belong  to  the  devil's  kingdom. 
Cf.  1.  4179. 

3898.  bclcbtett  berbeit  9)iafern,  '  from  massive  living  tree-warts,'  S3e« 
lebt  means  that  they  seem  like  living  things. 


328  NOTES. 

3906-11.  The  trio  have  been  moving  swiftly  by  magic;  as  they  'slow 
down,'  Faust  is  giddy  and  confused. 

3913.  fo  ettt  v.l>itttcli]ipfcl,  'one  of  these  mid-way  peaks.'  They  are 
not  yet  at  the  top. 

3916-31.  Cf.  the  note  to  1.  3664  for  the  idea  of  subterraneous  gold 
manifesting  its  presence  by  a  light  above  ground.  So  Mammon,  conceived 
on  account  of  the  familiar  personification  in  the  New  Testament  (Matt.  vi. 
24),  as  a  devilish  Lord  of  Wealth,  is  represented  as  lighting  up  his  moun- 
tain-palace for  the  great  festival. 

3919.    Wtttcrt  Ct  fytncitt,  'penetrates  with  its  gleam.1 

3936.  SBmbsbrewt ;  a  very  ancient  (O.  H.  G.  winte$  brtif)  and  not  fully 
explained  name  for  'tempest,'  'whirlwind.'  See  Grimm,  D.  M.,  I.,  525. 

3950.    ulicrtriimmcrteit;  bridged  over  with  the  debris  of  fallen  trees. 

3959-  Urtatt;  a  name  for  the  devil.  It  is  the  same  as  UrhattS,  'Old 
Jack.' 

3962.  iSaitbo;  a  nurse  of  Demeter,  who  tried  to  divert  the  goddess 
from  her  sorrow  by  obscene  antics.  The  story  can  be  found  in  Arnobius. 
In  Werke,  H.,  XVI.,  328,  Goethe  applies  the  name  to  an  immodest  merry- 
maker in  the  Roman  carnival.  As  a  type  of  bestial  shamelessness,  Baubo 
is  an  appropriate  leader  of  the  ribald  witches. 

3968.    ^(fenftetn;  a  high  rock  a  few  miles  northeast  of  the  Brocken. 

3977.  So  great  is  the  crowd  that  the  unborn  child  is  squeezed  to  death 
and  the  mother  to  bursting. 

3987-9.  In  these  witches  that  wash  and  wash  but  remain  sterile  and 
so  can  not  mount  into  the  air,  we  have  a  bit  of  nonsensical  mystification, 
which  it  is  hardly  worth  while  to  try  to  interpret  seriously.  Cf.  introduc- 
tory note  to  '  Witch's  Kitchen.' 

4003.  .^julbJjCJC.  A  '  half-witch '  seems  to  be  a  person  who  would  like 
to  be  a  witch,  but  cannot. 

4023.  2?olanb  ;  a  name  of  the  devil;  M.  H.  G.  valant.  The  word  is 
thought  by  Grimm  to  be  a  pres.  pple.  of  a  verb  meaning  '  to  seduce.' 

4033.    bcltcbijj,  'at  will,'  i.  e.,  'capriciously.' 

4076-91.  These  gentlemen,  who  have  withdrawn  from  the  crowd,  are 
different  types  of  the  old  fogy,  the  laudator  temporis  acti,  who  can  see  no 
good  in  the  new  generation. 

4095+.  £robefl)eje  ;  a  witch  who  deals  in  Srobet,  i.  e.,  old  curiosi- 
ties- Taylor  has  '  huckster-witch.' 


NOTES.  3^9 

4119.  9lbattt§  Cffte  ftfrail.  According  to  a  rabbinic  tradition,  Adam's 
first  wife,  the  'female'  of  Gen.  i.  z-j,  was  named  Lilith.  Being  superseded 
by  Eve,  she  became  a  ghost-like  being  that  delights  in  seducing  men  and 
doing  harm  to  children.  The  word  occurs  in  the  Hebrew  Bible  in  Isaiah 
xxxiv.  14,  where  it  is  rendered,  in  the  King  James  version,  'screech-owl,' 
with  the  alternative  '  night-monster.' 

4121.    Cttt^tij  ;  as  if  an  adj.  with  @d)ttUt(f. 

4143+.  »$rnftoj)l)attta:§intft,  'rump-visionary.'  The  name  and  the 
following  lines  to  1.  4175  allude  to  Friedrich  Nicolai,  who,  though  at  one 
time  the  friend  and  co-laborer  of  Lessing,  afterwards  made  himself  some- 
what ridiculous  as  an  apostle  of  common  sense  in  literature.  Goethe  and 
Schiller  looked  upon  him  as  the  type  and  embodiment  of  tedious  dictatorial 
mediocrity.  In  1  799  Nicolai  read  to  the  Berlin  Academy  a  paper  entitled 
'Example  of  the  Appearance  of  Several  Phantasms.'  In  this  paper  he 
reported  how  he  had  been  troubled  with  visions,  and  had  been  cured  by 
the  application  of  leeches  to  that  portion  of  his  person  called  by  the  Greeks 


4159.  aufjjcflcirt.  The  Age  of  Reason,  i.  e.,  the  age  of  Voltaire  and 
Friedrich  the  Great,  is  called  in  German  ba8  QeitalteT  ber  2lllf!ltintng. 

4161.  Xcgd  J  a  place  near  Berlin,  the  home,  in  Goethe's  time,  of  the 
brothers  Humboldt.  In  the  above-mentioned  paper  of  Nicolai  he  discussed 
a  ghostly  apparition  reported  to  have  been  seen  at  Tegel  in  1  797. 

4169.  Uictfe.  Among  Nicolai's  tedious  commonplace  writings  was  a 
long-winded  book  of  travels  entitled  Beschreibung  einer  Reise  durch 
Deutschland  und  die  Schweiz. 

4173.    foitlagirt,  '  gets  relief;   Fr.  se  soulager. 

4179.  rotl)C3  SJZSu^djett.  According  to  Grimm,  D.  M.,  II.,  905,  there 
is  folk-lore  to  the  effect  that  red  mice  sometimes  run  out  of  the  mouths  of 
sleeping  witches. 

4181.  food)  IttlJjt  grtttt  ;  i.  e.,  it  was  not  an  ordinary  mouse. 

4182.  ©djaferftttltbC,  '  amorous  hour.' 
4186.    gcf^ioff'ncn,  'fettered.' 
4190.    3>bol,  'phantom';   Gr.  eldutov. 

4194.  2Jlebltfe  ;  the  Gorgon  whose  serpent  hair  changed  all  who 
looked  at  it  to  stone. 

4211.    prater  ;  the  name  of  a  famous  park  at  Vienna. 


330  NOTES. 

4314.    @ert)ibtlt3  ;  a  servant,  or  '  super,'  employed  about  the  stage. 
4220.    9Jitd)  bUetttrt'S;  patterned  comically  after  It.  mi  diktta,  'it 
delights  me.' 


SB  a  l£  it  r  g  t § tt  a  cf)  t §  tr  a  itm. 

INTERMEZZO. 

The '  Walpurgis-Night's  Dream  '  is  the  '  new  piece '  mentioned  in  1.  4215 
as  just  about  to  be  performed  at  the  dilettante  theatre  —  which  is  the  sum 
total  of  its  connection  with  Faust.  The  title  was  suggested  by  Shake- 
speare's Midsummer  Nighfs  Dream,  in  which  Oberon  and  Titania,  the 
king  and  queen  of  the  fairies,  after  having  quarreled  about  the  possession 
of  an  Indian  boy  and  become  alienated  from  each  other  by  jealousy,  are  at 
last  reconciled.  Goethe  introduces  them  as  celebrating  their  golden  wed- 
ding, which  is  conceived,  at  the  same  time,  as  a  festival  of  reconciliation. 
The  orchestra  consists  of  buzzing  insects,  frogs,  crickets,  etc.  As  guests 
or  spectators  and  critics  we  have  a  multitude  of  persons  and  personifica- 
tions who  give  vent  to  their  feelings  in  the  form  of  comment  upon  what 
they  see  and  hear.  Goethe's  diary,  Tagebucher,  II.,  72,  shows  that  he  was 
working  on  the  '  Golden  Wedding  '  June  5,  1797.  But  it  was  not  then 
connected  in  his  mind  with  Faust.  In  the  summer  of  1 796  Goethe  and 
Schiller  began  together  the  composition  of  a  collection  of  epigrams  to 
which  they  gave  the  ancient  name  of  Xenia,  or  'gifts  of  hospitality.' 
Some  four  hundred  were  published  at  once  in  Schiller's  Almanack.  The 
next  summer  Goethe  sent  in  a  fresh  collection  of  similar  character  under 
the  title  of  Oberon  and  Titania' s  Golden  Wedding.  Schiller  saw  reasons 
for  not  publishing  them  (see  his  letter  of  Oct.  2,  1797),  whereupon  Goethe, 
having  now  doubled  the  original  number  of  verses,  decided  to  make  a 
place  for  them  in  Faust  (letter  of  Dec.  20,  1797). 

This  decision  is  to  be  regretted,  first,  because  no  intermezzo  was  needed 
after  the  Walpurgis-Night;  and,  secondly,  because  the  scene  has  nothing  to 
do  with  the  legend,  and  does  not,  for  the  most  part,  embody  genuine  folk- 
lore. Finally,  the  stanzas  are  not  very  interesting  in  themselves. 

4224.  Sftiebtttgd.  Mieding  was  a  highly  esteemed  stage-decorator 
who  died  at  Weimar  in  1 782. 


NOTES.  331 

4227-30.  The  thought  is  that  it  is  the  reconciliation  rather  than  the 
lapse  of  fifty  years  which  makes  the  festival  '  golden.' 

4239.    StricI;  the  Ariel  of  Shakespeare's  Tempest. 

4247.    Jjrillt,  '  is  freaky.' 

4257.  Sdjttcrfcfcfjttirfeflfinaif;  a  word  coined  to  describe  the  music 
made  by  the  soap-bubble  bag-pipe. 

4259-62.  Whether  these  lines  are  to  be  understood  as  spoken  by  the 
inchoate  '  Geist '  himself  or  by  some  one  of  the  performers  about  him,  is 
Uncertain.  So  is  the  '  point '  of  the  nonsense,  if  it  has  any. 

4273-  ©Otter  ©riedjenfattbS.  In  1788  F.  L.  Stolberg  published  a 
narrow-minded  attack  upon  Schiller's  poem  Die  Cotter  Griechenlands, 
charging  the  author  with  blasphemy,  etc. 

4274+.  !Worbtfd)er  ftiinfiler.  Here  one  thinks  of  Goethe  himself 
who  was  actually  planning  a  journey  to  Italy,  when  the  lines  were  written. 

4279-82.    The  '  purist'  as  we  see  is  a  typical  stickler  for  propriety. 
4294+.    28utbfahue.     The  '  weather-vane,'  that  first  praises  and  then 
condemns,  is  evidently  a  symbol  of  turn-coats.     That  anybody  in  particu- 
lar is  alluded  to  is  at  least  not  clear. 

4302+.  Xetticn.  Goethe  several  times  refers  to  the  Xenia  under  the 
image  of  annoying  insects. 

4306+.  ^>etUtittg3.  Hennings  was  the  editor  of  the  journal  Genius 
der  Zeit,  in  which  he  attacked  the  Xenia  violently.  This  journal,  called  by 
Loeper  a  £umtttefyta£  UJireifer  2)idjterUnge,  was  especially  disliked  by 
Goethe. 

4310+.  93Zufagct,  '  Leader  of  the  Muses.'  Under  this  name  Hennings 
published,  in  1 798-9,  some  numbers  of  a  poetic  journal  intended  to  rival 
Schiller's  Almanack. 

4314+.  Ci-devant;  'quondam.'  The  Genius  der  Zeit  was  discon- 
tinued in  1803. 

4318-!-.    92engieriger  JKcifenbcr;  Nicolai  again.    See  1. 4143,  note. 

4322.  Nicolai  was  famous  for  his  opposition  to  the  Jesuits.  The  line 
is  to  be  taken  as  a  comment  by  the  crowd  in  explanation  of  the '  traveller's  ' 
continual  snuffling. 

4322+.  ftramd).  The  '  crane  '  is  Goethe's  old  friend  Lavater,  of  whom 
he  said  to  Eckermann  Feb.  17,  1829 :  '  Lavater  was  a  genuinely  kind  man, 
but  subject  to  powerful  illusions,  and  the  strict,  exact  truth  was  not  his  af- 


332  NOTES. 

fair;  he  deceived  himself  and  others,  whence  there  came  a  complete  rup- 
ture of  our  relations.  His  gait  was  that  of  a  crane,  for  which  reason  he 
appears  as  '  crane  '  on  the  Blocksberg.' 

4326+.  SSeltfiltb.  In  the  summer  of  1774  Goethe  dined  with  Lavater 
and  Basedow  at  Coblenz.  In  a  poem  suggested  by  the  occurrence  are 
found  the  lines  : 


2>a§  3Belttiiib  in  ber  Dlitten. 
So  Goethe  himself  is  probably  the  SBeltfittb  here  on  the  Blocksberg. 

4328.    Siichif  el;  '  vehicle  of  profit,'  '  means  of  grace.' 

4334.  2>0mmefa,  'herons';  usually  Sftofirbommeltt.  The  droning 
herons  are  the  philosophers  who  appear  below. 

4335-8.  A  dancing  master  on  the  stage  comments  on  the  approaching 
crowd  of  dancing  herons. 

4338+-  gfibeler;  a  puzzling  word.  Diintzertakesittobe  gibeler,  from 
the  adj.  ftbet,  Lat.  fidelis,  used  in  student-dialect  for  '  jolly.'  The  word 
was  certainly  familiar  to  Goethe,  but  there  seems  to  be  no  point  in  introducing 
a  '  jolly  good  fellow  '  here.  The  connection  rather  requires  a  '  fiddler  '  to 
go  with  the  '  dance-master.'  There  is,  as  Loeper  shows,  good  and  abun- 
dant authority  for  the  spelling  ftbdtt,  $ibel,  ^ibler,  but  as  a  matter  of  fact 
Goethe  usually  wrote  giebel  fiebettt,  etc.  Schroer  thinks  gibeler  a  printer's 
mistake  for  giebler.  Cf.  G.-J.,  I.  435,  and  II.  439. 

4340.   boS  fReftdjen  geben,  '  do  to  death,'  '  settle.' 

4342+.  ^ogtttfttifer;  '  dogmatist,'  in  the  sense  of  a  philosopher  who 
bases  his  doctrine  on  received  dogmas.  This  '  dogmatist,'  however,  falls 
out  of  his  role  in  the  last  two  lines,  since  instead  of  accepting  the  devil's 
existence  on  faith  and  trust,  he  proceeds  to  argue  it  on  the  ground  that 
there  are  '  devils  '  among  men. 

4349.  SBcnit  td)  .  .  .  Jin.  '  Idealist  '  is  used  here  in  the  technical 
Fichtean  sense  of  one  who  holds  that  the  Not-Me  is  the  creation  of  the 
Me.  Thus  he  is  compelled  to  believe  that  all  he  sees  on  the  Brocken  is 
'Me.' 

4359.  @ic  gefyett  ;  i.  e.,  the  supernaturalists,  who  are  likened  to  cred- 
ulous persons  seeking  for  treasure  from  the  light  it  emits.  Cf.  1.  3664,  note. 

4366+.  (tyctOlUtbtcn  ;  the  '  clever  ones  '  are  the  lucky  dogs  who  'get 
along  '  by  hook  or  by  crook.  They  call  their  army  '  sanssouci,'  i.  e.,  '  free 
from  care  ',  because  no  scruples  trouble  them.  They  are  pococurantists. 


NOTES.  333 

4370+ •    ItnBeljuIfUdjett  ;  the  « ne'er  do  week '  whom  help  never  helps. 
4382+-   $>te  9Jtaffit)cn,  'the  coarse  crew.'    (gin  tnafffoer  ferl  is  the 
same  as  ein  grober  33urfdje.    . 

4384.    True  spirits  would  not  crush  the  grass  (Loeper). 


Among  the  Paralipomena  and  dating  presumably  from  the  period  1797- 
1801,  are  found  various  fragments  of  a  scene  that  was  to  come  after  the 
Intermezzo  and  represent  the  court  of  Satan  on  the  summit  of  the  Brocken- 
Cf.  11-  3959>  4037-9»  and  4116.  Satan  was  to  make  a  speech  from  the 
throne,  give  audiences,  confer  fiefs  and  receive  the  homage  of  his  subjects. 
A  chorus  was  to  sing  his  praise.  At  the  end  there  was  to  be  a  symbolical 
decapitation  of  the  '  eidolon'  (1.  4190)  with  comments  by  spectators  from 
which  Faust  was  to  learn  of  Gretchen's  fate.  For  some  reason  Goethe 
failed  to  carry  out  this  plan,  so  we  are  left  to  imagine  how  Faust  gets  his 
knowledge  and  to  make  the  return  as  best  we  can  from  the  phantasms  of 
the  Blocksberg  to  the  intense  realism  of  the  love-tragedy. 

The  scene  '  Dismal  Day '  is  found  in  U.  substantially  as  it  appears  here. 
Its  wild  extravagance  of  diction,  the  work  of  a  youthful  writer  who  has  not 
yet  mastered  his  art,  points  to  an  early  origin,  probably  the  year  1772. 
Cf.  Scherer,  Goethe's  fruhzeit,  p.  81.  The  more  important  dramaturgical 
questions  suggested  by  the  scene  are  discussed  in  Intr.  p.  bciii  ff.  Cf.  also 
the  introductory  note  to  the  scene  'Study,'  (l). 

6.  titflrimmcitb  ;  =  ingrimmig.  There  is  no  verb  tngrimtnen  and 
this  form  is  probably  unique. 

g.   ber  rtdjtettben  gefithflofcn ;  =  ber  gefiiblloS  ridjtenben. 

10.  $crftr  CHUltgen.  It  is  quite  doubtful  what  '  diversions '  Goethe 
had  in  mind  when  these  words  were  written. 

13.  SBonblc  tljn.  When  this  was  written  the  presupposition  was  that 
the  devil  had  associated  with  Faust  for  a  time  in  poodle  form  before  being 
given  human  shape.  Accompanying  Faust  on  his  evening  walks,  the 
poodle  would  divert  his  master  by  rolling  in  the  path  in  front  of  pedestrians 
so  that  they  might  fall  over  him.  Scherer,  Goethe's  Friihzeit,  p.  81,  re- 


334  NOTES. 

gards  this  passage,  strangely  enough,  as  evidence  that  the  devil  was  not  to 
appear  first  in  poodle  form. 

16.    follcttt,  'roll  in  a  heap,'  or  '  turn  somersaults.' 

28.    ii&erf djnoppt,  '  snaps  from  over-tension.' 

30.  XrnitjlCH  totr  .  .  .  wt$?  When  the  scene  was  written  the  presup- 
position was  that  Faust  had  taken  the  initiative  toward  an  alliance  with  the 
devil.  So  in  1.  1414  the  first  suggestion  of  a  compact  comes  from  Faust, 
though  he  says  in  1. 1426 :  $3)  babe  bir  ttidjt  ttachgefteEt.  But  the  Prologue 
gives  us  to  understand  that  the  devil  seeks  out  Faust. 

49-50.  be3  @rfd)lageiteit  ;  evidence  that  the  murder  of  Valentin  and 
Faust's  flight  in  consequence  were  a  part  of  Goethe's  earliest  plan. 

57.  tttit  sjJ{citfd)CHf)(Uti>.  The  assumption  is  that  Mephistopheles  can 
not  spirit  Gretchen  out  of  her  prison-cell  by  magic.  He  can  take  Faust  to 
the  spot  speedily  and  can  befool  the  guard,  but  the  removal  must  be  effected 
by  the  '  hand  of  mortal.'  ^auberpferbc.  The  magic  horses,  as  a  meana 
of  locomotion,  are  found  only  in  this  early  scene.  In  the  later  ones  the 
pair  usually  travel  by  means  of  a  magic  mantle  (cf.  1.  2065,  and  1.  6983). 


This  short  scene  in  rhythmical  prose,  found  in  U.  precisely  as  here,  falls 
of  course  on  the  night  following  the  preceding  '  Dismal  Day.'  As  Faust 
and  Mephistopheles  sweep  through  the  air  on  their  black  horses,  they 
pass  a  'raven-stone,'  or  place  of  execution  (Sfabettfteitt  is  properly  the 
'block'  of  masonry  built  under  a  gallows),  at  which  a  bevy  of  witches  are 
engaged  in  their  characteristic  employments  of  'cooking,'  'strewing'  and 
'  devoting '  to  the  powers  of  evil.  The  scene  was  conceived  as  an  uncanny 
picture  that  should  serve  to  adumbrate  the  fate  of  Gretchen.  But  this  is 
now  done  sufficiently  by  the  '  eidolon '  on  the  Brocken  (11.  4203-5) . 


NOTES.  335 


In  U.  this  scene  is  in  prose,  (for  the  text  see  Appendix  II),  the  sub- 
stance differing  but  slightly  from  what  is  found  here.  It  was  probably 
written  in  1772  or  1773  and  put  into  verse  in  1798.  See  Intr.  p.  Ivi. 

4405.  Iftttgft  ClttlDOljIttcr  ©djaiter.     The  presupposition  is,  or  was, 
that  Faust  has  been  away  from  Gretchen  several  months  and  during  that 
time  has  been  a  stranger  to  deep,  sincere  emotion,     @d)auer  = '  feeling  of 
awe.'     Later  Goethe  preferred  enttt>ob,Iten  to  entWobneit.     Cf.  1.  25. 

4406.  ®er  2Henfd)l)ett jammer.    Cf.  U.  1770-3,  and  Intr.  p. 

bcxiii. 

4411.  ^Ofjcrt  .  .  .  hcrfllt,  'lingers  death  more  near'  (Taylor);  an  in- 
transitive verb  used  transitively,  as  in  1.  389. 

4412-20.  Gretchen  in  her  distraction  sings  a  coarse  song  as  does 
Ophelia  in  Hamlet.  The  song  itself  is  based  on  the  Low  German  legend 
of  the  juniper-tree,  which  is  found  in  Grimm's  Marchen.  The  story  runs 
thus :  A  bad  stepmother  serves  up  her  step-son  as  a  meal  for  her  husband. 
A  little  sister  gathers  up  the  bones  and  buries  them  under  a  juniper-tree. 
The  bones  become  a  little  bird  that  sings  the  song :  Min  Moder  de  mi 
slachft,  Min  Vader  de  mi  att,  etc. 

4413.     ^te  ,  demonstrative. 

4417.    Scinr=  $nod)en. 

4449-50.  The  meaning  is :  They  mock  me  by  singing  an  old  ballad  of 
a  mother  that  killed  her  child;  who  bids  them  apply  it  to  me? 

4489.   titterbrang, '  came  over  me.' 

4501.    audj  \  unaccented,  in  the  sense  of '  really,' '  indeed.' 

4512.    fcilrf)t  j  in  allusion  to  the  killing  of  Valentin. 

4520.  itbrig  blcibctt,  '  continue  to  live ';  the  preceding '  you'll  kill  me,' 
being  taken  literally. 

4532.    The  thought  is :  I  can  no  longer  bring  back  the  old  feeling. 

4567.  @3  fa§t  ....  8d)0pfc,  '  it's  as  if  a  cold  hand  seized  me  by  the 
hair.' 

4569.    It)  a  (felt  J  in  recollection  of  her  mother's  fatal  drowsiness. 

4584.    (&$  tft  Cbeit  flCf  djcfjCIt,  ' it  is  e'en  a  thing  of  the  past.' 

4590.    It  was  once  the  custom  at  public  executions  to  toll  the  church 


336  NOTES. 

bell  while  the  culprit  was  on  the  way  to  the  block,  and  also  to  break  a 
white  wand  over  the  condemned  person's  head  in  token  that  his  life  was 
forfeit  to  the  law. 

4593-4-  .Surfeit  nn&  ftitrfen  are  variants  of  the  same  word  and  both 
mean  '  to  move  with  a  flash,'  '  to  dart  swiftly.'  The  on-looker  is  supposed 
to  shrink  from  the  fatal  blow  as  if  it  were  meant  for  his  own  neck. 

4611.  Mephistopheles  means:  She  is  beyond  the  reach  of  judge  and 
executioner;  her  '  doom  '  has  already  come.  It  was  apparently  to  forestall 
the  possible  interpretation  '  she  is  doomed  to  perdition,'  that  Goethe  added 
the  supernatural '  voice  from  above  '  declaring  that  '  she  is  saved.' 


APPENDIXES, 


(137) 


APPENDIX   I. 


BIBLIOGRAPHY. 

A  complete  Faust-bibliography  would  treble  the  size  of  this  volume.  For  a  work  fairly 
complete  down  to  1884  the  student  is  referred  to  Engel's  Zusa-mmenstellung  ;  for  the 
time  since  then  the  successive  volumes  of  the  Goethe-Jahrbuch  are  the  best  source  of 
information.  The  following  list  comprises  the  more  important  works  used  in  the  making 
of  this  edition.  A  few  that  do  not  belong  strictly  to  Faust-literature,  are  included  either 
because  they  are  referred  to  in  the  preceding  pages  or  because  they  contain  matter  of 
exceptional  value  for  the  study  of  Faust.  In  general,  however,  the  histories  of  German 
literature  and  the  biographies  of  Goethe  are  omitted.  So  also  are  the  great  mass  of 
literary  essays,  magazine  articles,  translations  and  popular  expositions. 


Baumgart,  H.    OoetbeS  gft11!*  al®  einljeitUdje  S5idjtung  erlautert.    (Srfler 

33anb.    £b'mg«6erg.    1893. 
Biedermann,  W.  von.    ©oetlje^orjdjitngert.    granffurt  a.  3ft.    1869. 

©oetb.e=§orfd)ungen.    9faue  golge.    Ibid.    1886. 
Bielschowsky,  A.   £)a§  @d)ttrieger.Iingfd)e  ^3uppenjpiel  Dom  ©oftor  gaufl. 

23rieg.    1882. 
Boyesen,  H.  H.     Goethe  and  Schiller  :  Their  Lives  and  Works.     Includ- 

ing a  Commentary  on  Goethe's  Faust.     New  York.     1882. 
Carriere,  M.     ^aufl-    ®ine  Sragobie  Don  ©oetbe.    2fttt  ©inleitung  unb 

(Srrauterung.    ?eipjtg.    1869. 
Collin,  J.    ©oetbes  gaufl  in  feiner  attefhn  ©eflolt.    granffurt  a.  3ft. 

1896. 

Coupland,  W.  C.     The  Spirit  of  Goethe's  Faust.     London.     1888. 
Creizenach,  W.    SSerfuc^  einer  ®ejd)id)te  be«  3Sott«f(i)aufpiel9  »om  Sector 

gauft.    ^otte.    1878. 

2)ie  S3iif)nengef^id)te  be«  ®oetbe'|d)en  gauft.    granffurt.    1881. 
Devrient,  0.    ©oetheS  gaujl.     gur  bie  2tuffubrung  al«  3K^jlerium  in 

groei  Sageroerfen  eingeri^tet.    Sarlsrube.    1881. 
Dingelstedt,  F.     (Sine  gaufttrilogie.    2)ramaturgifd)e  Stable.    S3ertin. 

1876. 

Du  Bois-Reymond,  E.    ©oetbe  unb  fein  (Snbe.    9tebc  bci  Slntritt  u.  \.  w. 
1883. 

(339) 


340  APPENDIX    I. 

Diintzer,  H.    ©oetfyeS  ftanft.    Softer  unb  jfoeiter  Sfjeit.    3um  erfien 

2Jiat  fcolfftanbig  erfautert.    Seipgig.    1857. 

©oetb,e8  iftauft  erlautert  (£b,fe.  19-21  in  ,,@rlauterungen  511  ben  beutfdjen 
Sfafftfern.")    Seipgig.    I.  £b,eif,  4.  Stuff.  1882 ;  II.  £Ijeit,  3.  Stuff. 
1879. 
©oettjes  SSerfe,  gttoffter  SljeU.    gaujl.    (33b.  93  in  tiirjdf)ner«  ,,3)eut* 

fd^e  SRattonalsSitteratur*1).    Berlin.    (Ca.  1882). 
3ur  ©oet^eforfc^ung.    S'Jeue  iBeitra'ge.    (Stuttgart.    1891. 
Eckermann,  J.  P.    ©efprcidje  mit  ©oetlje  in  ben  lefcten  3a^ren  feine« 

?eben«.    4.  luff.    2'etygig.    1876. 
Ehrlich,  M.    gauft  (33b.  3.  in  2.  ©eigerS,,  S^eue  ittuftrtrte  StuSgaBe"  Oon 

©oetljeS  SBerfen).    S3erftn.    1883. 
Engel,  K.    3u^antineitflte:ttunS  be*  gauft=@d^riften  bom  16.  Saljrf).  bi« 

SKttte  1884.    Ofbenburg.    1885. 

S)aS  SSoIfgf^aufpiel  Sector  3ot)amt  ^auft.    2.  luff.    Olbenburg.    1882. 
Fischer,  K.    ©oetfyeS  $anft.    Wati)  feiner  Sntfte^ung,  3bee  unb  (Sompoft* 

tion.    2.  Stuff.    (Stuttgart.    1887. 

Goethe.    <Sd)riften.    (S3b.  7  gauft.    <5tn  fragment.)    Seipjig.    1790. 
28er!e.    (S3b.  8  ©er  Sragobie  (Srfhr  Sfjeif,  <r/AVw  princeps).    2;ubin= 

gen.    1808. 
Berfe.    SSoCftanbige  Sluggabe  tester  §anb  (33b.  12  gaufl,  erfler  Sfjeil). 

©tuttgart.    1829. 
2Ber!e.    92acf)  ben  toorjiiglitfiften  Ouetfen  rebibtrte  SluSgabe.    SSerfin 

(§etnpel).    1868-79. 
SSerfe.    §erau8gegeben  im  Sfuftrage  ber  ©ropergogin  ©opfjie  t?on 

©adfjfen.    SBeimar.    1887- 
@oet&,e=3ab,rbit<t).    §erau«gegeben  tion  2.  ©eiger.    granlfurt  a.  2JZ. 

1880- 
Grimm,  H.     ©oetlje.    iBorfefungen  gefjalten  u.  f.  it).    2.  Stuff.    Serlin. 

1880. 
Grimm,  J.  .SDeutfdje  9Kt)tb,ofogie.    SSierte  Stuff,  beforgt  »on  (S.  $.  SPie^er. 

Berlin.    1875-8. 

Grimm,  J.  and  W.    S>eutfdje«  SBorterbudf).    Jei^ig.    1854-. 
Gwinner,  W.    ©oetfjefi  gauftibee  nadf)  ber  urfpriinglicfjen  Conception  auf* 

gebectt  unb  nadjgertJtefen.    granffurt  a.  2Ji.    1892. 

Hagemann,  A.     Mephistophelis  nomen  unde  ortum  esse  et  quam  signifi- 
cadtionem  habere  videatur.     Graudentz.     1872.  ^- 


APPENDIX    I.  341 

Hart,  J.  M.     Goethe :   Faust  —  Erster  Theil.     Edited  with  an  Introduc- 
tion and  Notes.    New  York.     1877. 
Herbst,  W.    ©oetbe  in  SBefelar.    ®otb,a.    1881. 
Holland,  W.  L.    ©oetbeS  gcmft.    (Sin  fragment.    3n  ber  urfprunglirfjen 

©eftalt  neu  berauggegeben.    greiburg.    1882. 
Horst,  J.  W.    gauberbtbliotljef ;  ober  »on  3auberei,  £b,eurgie  unb  3Kan= 

tif,  3auberern,  £eren  unb  §erenproceffen,  SJamonen,  ©ejpenflern  unb 

®efpenflererjd)einungen.    2Kaing.    1821-25. 
Huther,  A.    ®ic  »erfd)iebenen  $(ane  im  erjlen  £eile  »on  ®oetbe«  gaufi. 

Sottbug.    1887. 
Keller,  A.  von.    gaufts  Seben  6on  ®.  $R.  2Bibman(n).    Siibingen.    1880. 

(A  reprint  of  Pfitzer's  edition  of  the  Widman  Faust -book). 
Kopp,  H.     Aurea  Catena  Homeri.     Braunschweig.     1880. 
Kostlin,  K.    ©oetbe«  gauft.    ©eine  ^ritifer  unb  2lu«Ieger.    Subingen. 

1880. 
Kiihne,  A.    S)a«  attcjle  gaujibud).    SBortgetreuer  Sbbrurf  ber  Editio 

Princeps  be«  @pte«'jd)en  gauftbudjeS  rjom  3abre  1587.    3Rit  (Sinlei* 

tung  unb  5lnmerfungen.    Bertft.    1868. 
Ueber  bie  gauftjage.    3erbfi.    (Ca.  1866). 
Leutbecher.    tleber  ben  gaufl  toon  @oetb,e.    9?urnberg.    1838. 
Lee,  J.     Faust.     By  Goethe.     With  an  Introduction  and  Notes.     Part  I, 

followed  by  an  Appendix  on  Part  II.     London.     1886. 
Levy.     Faust,  Tragedie  de  Goethe.     Avec  une  Introduction  et  un  Com- 

mentaire.     Paris.     1884. 
Loeper,  G.  von.    gauft.    (Sine  Sragobie  »on  ©oetbe.    SKit  ginleitung 

unb  erflarenben  Slnmerfungen.    2.  Searbeitung.    SSerlin.    1879. 
Marbach,  0.    ©oetb,e«  gaufi,  erfier  unb  jweiter  jtbeil,  erfldrt.    ©tutt- 

gart.    1881. 

Mertens,  T.    Stte  .Kerferfcene  au8  ©oet^eS  gaufl.    ^)anno»er.    1873. 
Meyer,  E.    ©tubi^t  ju  ©oetb.eg  5auP-    SHtona.    1847. 
Oettingen,  A.  von.    ©oet^e*  gaufl,  erfier  unb  gweiter  Zb,eiL    £ert  unb 

(Srlduterung  in  SSorlefungen.    (Srlangen.    1880. 
Pfitzer,  C.  N.     (See  under  Keller.) 

Riemer,  F.  W.    2Rtttb,eilungen  fiber  ©oetb,e.    Berlin.    1841. 
Roskoff,  G.    ©efd)id)te  be«  SeufelS.    Seipjig.    1869. 
Rbssler,  C.     S)te  ^ntfte^ung   be«  gaup.    (A  series  of  articles  in  the 

Grenzboten  for  1883). 


342  APPENDIX    I. 

Sanders,  D.    SBorterbud)  ber  beutfdjen  ©pradje.    SJetpjig.    1861-65. 
Scheible,  J.    2)a8  Softer,    ©tuttgart.    1845-50. 
Scherer,  W.    2lu8  ©oetbeS  griibgeit.    ©trafjburg.    1879. 
3)a«  ottefte  gauft=S3ud)  mit  einer  (Sinleitung.    ^Berlin.    1884. 
Slufjafce  iiber  ©oetbe.    Serttn.    1886. 
©efd)td)te  ber  beutfdjen  Siteratur.    33ertin.    1883. 
Schmidt,  E.    ©oetbeS  §auft  in  urfpriingUdjer  ©eftalt  nad)  ber 

^aufenfd)en  5lbfd)rift  t)erau8gegeben.    3.  3tbbrud.    SBetmar.    1894. 
Schreyer,  H.    ©oet!^e«  gauft  al8  einfyetttidje  ®td)tung  erldutert  itnb  toer= 

tetbigt.    §atte.    1881. 

Schroer,  K.  J.    §altfl  toon  ©oet^e.    3J?it  (Sinteitung  unb  fortlaufenber 

(grflarung.    §eitbronn.    I.  £h,eil,  2.  luflage  1886  ;  II.  £fc,eU  1881. 

®ie  Stuffii^rung  be8  ganjen  5auP  aitf  bent  SBiener  53urgtb,eater.    §eil» 

bronn.    1883. 

Sengler,  J.    ©oet^eS  gauft,  erfter  unb  jtueiter  Zfyil     S3eriin.    1873. 
Stiller,  0.    ©oeth,e8  (gntwurfe  gum  gauft.    Berlin.    1891. 
Strehlke,  F.    SBorterbud)  gu  ©oet^eS  gauft.    ©tuttgart.    1891. 
^Paratipomena  gu  ©oet^eg  gauft.    (Sntmiirfe,  ©Itgjen,  SSorarbeiten  unb 

gragmente,  georbnet  unb  erlautert.  ©tuttgort.  1891. 
Suphan,  B.  §erber8  jammttidje  SBerfe.  ^Berlin.  1877-82. 
Taylor,  B.  Faust:  A  Tragedy  by  Goethe.  Translated  in  the  Original 

Metres.     Boston.     1879. 
Vischer,  F.    ©oetbeS  gauft.     9ieue  Seitrage  gur  ^rittl  be8  ©ebidjts. 

©tuttgart.    1875.     . 
?atee  unb  5Reue«.    ©tuttgart.    1881. 
Vollmer,  W.     i8rieftt)ed)fel  jtt)tjd)en  @d)itter  unb  ©oetbe.     3.  2lu«g. 

©tuttgart.    1870. 
Weisse,  C.  H.    ^ritif  unb  Srlauterung  be«  ©oetbefdjen  gaufi.    Setpjig. 

1837. 
Welling,  G.     Opus  Mago-Cabbalisticum  et  Theosophicum.     Frankfurt  a. 

M.     1760. 

Weltrich,  R.  ©oetbeS  goufl  in  ber  ©od)baufen'fd)en  2tbfd)rift.  (A  long 
series  of  articles  in  the  Magazin  fur  Litteratur  dcs  In-  und  Auslan- 
des  for  1888.) 

Widman,  G.  R.     See  under  Keller. 

Witkowski,  G.    S>ie  28olpurgi3nadjt  im  erften  Seite  Don  ©oetbeS 
Setpgtg.    1894. 


APPENDIX    II. 


THE    TEXT. 

THE  critical  student  of  the  text  of  Faust  is  referred  to  Goethe's  Werke, 
XIV.,  247  ff.,  where  can  be  found  a  full  account  of  the  manuscripts  and 
prints  compared  in  the  recension  of  the  Weimar  text,  together  with  a  full 
list  of  variant  readings.  The  Weimar  text  is  followed  in  this  edition,  but  it 
is  not  thought  necessary  to  reproduce  here  its  entire  critical  apparatus. 
The  fundamental  principle  is  to  follow  the  Ausgabe  letzter  Hand  except 
where  there  is  clear  and  cogent  reason  for  departing  from  it.  The  pur- 
pose of  the  following  notes  is  twofold :  first,  to  comment  briefly  on  those 
textual  questions  that  have  an  important  bearing  on  the  sense,  and  sec- 
ondly to  give  in  full  those  passages  of  U  which  differ  radically  from  the 
final  version.  U  means  'Urfaust';  S,  the  Fragment  of  1790;  A,  the 
editio  princeps  of  the  completed  First  Part  (1808);  C,  the  Ausgabe  letzter 
Hand  (1829). 

21.  ?etb.  So  AC.  The  Sieb  of  many  later  editions  is  probably  a  mis-' 
taken  correction,  —  trtlriaUftrenbe  ©djHmmbefferung  as  it  is  called  by 
Schmidt,  the  Weimar  editor  —  of  Riemer,  who  noted  in  the  back  of 
Goethe's  diary  for  1809  that  Seib  was  a  misprint  for  ?ieb.  By  oversight, 
seemingly,  the  reading  ?ieb  crept  into  a  few  copies  of  a  Cotta  print  of 
1825  and  was  then  adopted  in  the  Riemer-Eckermann  quarto  edition  of 
1836-7.  The  reading  £eib  in  C  indicates  that  Riemer's  note  was  without 
Goethe's  authorization. 

379.    SBiirbe.     U  has  rtJerbe.     Cf.  introductory  note  to  scene  •  Night/ 

390.    23iid)ertt.    US  have  33iicf)er.    Cf.  note. 

481+.   After  gtantme  U  has  in  nrieberUcfjer  ©eftollt.    Cf.  note. 

503.  SBebe.  USA  have  ttiebe;  C  ttelje.  Changed  apparently  on  ac- 
count of  the  ensuing  SBebett  and  2Bebftul)l,  and  also  for  the  sake  of  the 
parallelism  ?eben«f(utb>n:  2BalT  =  ijjatenfiurm:  2Beb,e. 

(343) 


344  APPENDIX   II. 

519.   U  has  9hm  tt>erb  id)  tiefer  ttef  ju  nidjte.    Cf.  note. 
521.    @d)teid)er.    U  has  ©djwarmer.    Cf.  note. 
532-3.    Instead  of  these  lines  U  has  : 

2fton  ttieis  nid)t  eigentlid)  nne  fie  ju  guten  2)ingen 

2)urd)  Ueberrebung  binjubringen. 
546-7.    In  U  Wagner's  speech  consists  of  the  single  line  : 

Mein  ber  SSortrag  niijt  bent  Stebner  triel. 
to  which  Faust's  reply  runs  in  U  : 

548-51.     2Bo8  SSortrag  !  ber  ift  gut  im  ^uppenfpiel 

2ftein  §err  SDiagifter  b,ab  er  $rafft  ! 

@e^  er  fetn  ©t^ettentauter  Zfyoic  ! 

Unb  greunbfdiafft,  Siebe,  Sruber^afft, 

£ragt  bte  ftcf)  nic^t  don  ^elber  bor. 
596.   mir  intmer  fort.    US  have  bis  tnorgen  frii!^. 
1867+.     In  U  the  heading  (cf.  Intr.  p.  1,  foot-note)  is:  2Jtepb 
im  @d)lafrod  cine  grofe  ^3errii(fe  aitf.   ©tubent. 

1882-95.    These   lines  are   lacking  in  U,  the  following   being  found 
instead  : 

@iebt  aH  fo  trocten  rtnggiim  au« 

31IS  fa«  §ei«bunger  in  iebetn  §au§. 
SO?  e  p  b  :     SBitt  eutf)  !  bran  eud^  md)t  luetter  feb,rtf 

§ier  at(e8  ftd)  tiom  ©tubenten  nabrt. 
erft,  too  toerbet  ib^r  logiren? 


@  t  u  b  e  n  t.  SSBoEtet  mic^  fubren 

SBin  toarrtid)  ganj  ein  irre8  ?amtn. 
SDiogt  gern  ba«  gute  fo  attsufamm, 
SKogt  gern  ba8  bofe  mir  att  ttom  ?eib, 
llnb  gre^ett,  and)  njobl  3^itoertreib, 
SJibgt  and)  babei  ftubiren  tief, 
3)o  ff  mir8  iiber  ^?opf  unb  Obren  lief  ! 
O  §err  belft  baff  meiner  @eel 
2lm  guten  SBefen  nimmer  febl. 

SDi  e  p  h  i«  :  irajt  M.    ^ein  Jogie  b,abt  ibr  ?  nne  ib,r  fagt. 

@  t  u  b  e  n  t.  §ab  nod)  ntdjt  'mat  barnad)  gefragt. 

SKein  SBirthgbouS  nabrt  mid)  leibltd)  gut, 
geine«  2)JagbIein  brinn  aufroarten  tl)Ut. 


APPENDIX 


345 


@  t  u  b  e  n  t 
2ft  e  p  1)  : 


m  e  p  b;  :        Seljiite  ©ott  ba«  f  ub,rt  eudj  roeit  ! 

daffee  unb  Sillarb  !    SBeb,  bem  ©piel  I 
2)ie  UKagblein  ad)  fte  geilen  &iel  ! 
SSertrippUftreidjelt  cure  3eit. 
£>agegen  felm  nrir3  leiblid)  gent, 
Staff  alle  ©tubioft  nab,  unb  fern 
Un«  tuenigfienS  einmal  bie  2Bo(^en 
^ommen  unterit  Slbfa;}  gefvodjen. 
SBiU  etner  an  itnferm  ©peidjel  ft^  lejjen 
£>en  t^un  ttiir  311  unfrer  9ted)ten  fej^en. 
3Mir  rtirb  ganj  grculic^  toorm  (Seftdjt  ! 
S)a«  jdjabt  ber  guten  ©adje  nidjt. 
S)ann  forberfamfi  mit  bem  £ogie 
SBiifet  id)  cud)  njo^l  md)t«  befferS  ^ie, 
2118  ge^t  ju  grau  ©pri^btcrlein  morgen 
2Bei8  ©tubiofos  gu  cerforgen. 
§at§  §au8  toon  oben  bis  unten  bott, 
Unb  Berfkljt  ttjetblid)  iua«  fte  foIL 

»ar  faubrer  gefadjt, 
ijt«  einmal  fo  b,ergebrad)t. 
3^r  jaljlt  um6  anbre  Dor  end)  ja^Iten 
S)te  ib,ren  9tab,m  auf«  —  §au«  marten. 

©  t  n  b  e  n  t.   SBtrb  mtr  fafi  jo  eng  um8  $erj  b,erum 
2118  ju  §au8  im  (Eolegium. 

SK  e  p  ^  :        (Suer  Sogie  roar  nun  befleUt 

5l?un  euren  Jifd)  fur  letblid)  ©elb  ! 

@  t  u  b  e  n  t   2Rid)  bu'nft  ba8  gab  ftd)  aHe  nad), 

2Ser  erfi  »on  ©eift«  (Srroeitrung  fprad)  ! 
SJiein  @d)a^!  ba8  roirb  eud)  roofyl 
Sennt  nid)t  ben  ©etfl  bcr  Slfabemien. 
3)er  SKutter  £ifd)  mufet  ib,r  Bergeffen, 
^lar  SSaffer  gcjdjiebne  Gutter  freffen. 
@tatt  £opfen  ^eim  unb  iung  ©emil«, 
©enieffen  mit  S)anf  Srenneffeln  fii«, 
©ie  tljun  einen  ©anfe  jhib,lgang  tretben, 
fiber  eben  brum  nidjt  baff  betleiben, 
pommel  unb  Salb  !iib,ren  ob,ne  Gnb, 


346  APPENDIX  n. 

HIS  tme  unferS  §err  ®ott«  girmoment. 

£>od)  galjlenb  roirb  Bon  eud)  ergfingt 

2Ba8  @d)U)armertan  tior  eud)  gefdjwanjt. 

2Riifft  euren  SBeutel  tt>obl  Berforgen, 

SBefonberS  feiuem  gteunbe  borgen 

2lber  rebtid)  gu  aUen  SUtealen 

SBirtb,  @d)tteiber  itnb  ^kofeffor  gatjlen. 
<S  t  u  b  e  n  t.   $od)ttwrbger  §err  ba8  ftnbet  ftd). 

Slber  nun  bitt  id)  leitet  mid) ! 

2Jttr  fteb,t  bo8  gelb  bcr  SBeie^eit  offen, 

SBare  gern  fo  grabe  gn  geloffen, 

Slber  fte^t  brinn  jo  bunt  nnb  IrauS 

Stud)  jetttoarts  roiijl  unb  troden  ou«. 

gevn  ttjat  ftdj'8  mir'bor  bie  @innen  fiellen, 

2116  ttrie  ein  Sempe  tioll  frifdjer  OneEen. 
1898-1901.     In  U  the  Student's  reply  runs  : 

@ott  gtoar  ein  3JJebi3iner  werben 

£>od)  njiinfdjt  id)  rings  oon  alter  Srben, 

93on  aHem  §immel  unb  aU  ^fatur, 

@o  oiet  mein  ©eift  bermogt  gu  faffen. 
1941.    U  has :  S3obrt  jtd)  einen  Sjel  unb  »ei8  nidjt  h)ie, 
2079.     From  this  point  on  the  scene  reads  in  U : 
33ranber  (SfeU    ©djwein! 

g  r  o  f  d)     9Jiug  man  mit  eud)  nid)t  betjbeS  fe^n. 
©iebel.    3)ret)  jTeufet!  rubt!  unb  ftngt  runba !  unb  brein  gejoffen 
brein  gefrifdjen.    §otta  be !  2(uf !  §e  ba ! 

21 1 1  e  n.    S3aumrooUe  ber ;  ber  jprengt  un8  bie  Obren. 
@  i  e  b  e  I    ^)ann  id)  batior  baff  baS  oerfluctjt  niebrige  ©ewolbe  fo  tt>ieber» 
fdjaUt.    @ing. 

^  r  o  f  d).    21 !  £ara  !  Sara !  lava !  bi !  —  ©eftimmt  ift !  Unb  tt)a8  nun  ? 
[Here  11.  2090-91]. 

S3ranber.    ^fut)  ein  garfiig  Sieb  !  @in  politifd)  ?ieb,  ein  leibig  £ieb. 
2)auft  ©ott  baff  eud)  bag  hetlige  romifdje  9teid)  nidjtS  angeb,t.    2Btr  tootten 
einen  S45a^ft  mahlen. 
grofd)  [11.  2101-2], 

@  t  e  b  e  I    2Better  unb  Sobt.    ©rit«  mein  iHebgen !  —  (Sine  ^ammel* 
mauSpaftete  mit  geftopften  biirren  Sidjenblcitteru  oom  S3toct«berg,  burd) 


APPENDIX  n.  347 

einen  gefdjiuibnen  £aajen  mit  bem  §ab,nenfoj)f  iiberjdjidft,  uitb  teinen  ®ru« 
Bon  bcr  9?ad)tigaH.  £att  fte  mid)  nidjt—  SKeinen  ©tujbart  unb  atte  Slppar- 
tinengien  hjnter  bie  £bfire  geroorfen  roie  einen  ftumpfen  SSejen,  unb  ba8  urn 
—  3>ret)  £eufel  !  Seinen  ®ru8  jag  id)  al8  bie  genfler  eingejdjmiffen  ! 

g  r  0  j  d)  (ben  flrug  auf  ben  £tf<$  ftoffenb)  Stub,  iejt  !  —  (Sin  tteit  ?ieb  «am. 
meraben,  ein  alt  ?ieb  tuenn  ib,r  njottt  !  —  Slufgemerlt  unb  ben  SRunbreim 
mit  gefungen.  %n\fi)  unb  ^ocf)  auf!  [Here  11.  2126-49,  but  with  dashes 
in  place  of  S)octor  Jutber,  1.  2129]. 

©tebeU  llnb  cine  biuldnglidje  portion  9tattenpuloer  ber  tot^m  in 
bie  @nppe.  3t^  bin  nit  mitleibig,  aber  jo  eine  9tatte  lonnte  einen  @tein 
erbarmen. 

S  r  a  n  b  e  r.  ©elbfl  9Jatte  !  3(^  mogte  ben  @db,meerbaud)  jo  am  ^eerbe 
jein  ©eelgen  auSblajen  jebn  ! 


gaufl, 

9Ji  e  $  b,:  S^uu  jd^au  wte  jte'8  bier  treiben  !  SBenn  btr«  gefaUt,  berglet- 
tb,en  ©ojieta't  jt^aff  id)  bir  9?ad)t  nacf)tH<^. 

g  a  u  ft    ©uten  Slbenb  ibr  ^erren. 

31  He    (SrojcnSanf! 

©iebel    2Ber  i  ji  ber  ©tordjer  ba  ! 

S3  r  a  n  b  e  r.  @ttH  !  ba«  ifl  was  ttomebme«  tulognito,  jte  tjaben  jo  tt>a« 
unsufriebne«  boje«  im  ©eftdjt. 

'&>  i  e  b  e  I    ^al)  !   Sommobianten  roenn«  b,ot^  tommt 

3Ji  e  p  b  :  (teife)  SKerfS  !  ben  Seufel  Dermutfyen  bie  ^erl«  nte  jo  itaty  er 
ib,nen  immer  ift. 

g  r  o  j  d).  3d)  roiQ  'en  bie  SBurme  jd)on  au«  ber  9?aje  jieb,n,  roo  fie  b,er- 
fommen  !  —  3fl  ber  SBeeg  Don  9tippad)  b,eriiber  jo  jd)limm,  baff  tb,r  jo  ttef 
in  bi?  5Rad)t  b,abt  reijen  mufjen. 

g  a  u  fl    2Btr  fommen  ben  SBeeg  nit 

g  r  o  j  d).  3d)  meinte  etnja  ibr  b,attet  be^  bem  berub,mten  $au«  bruben 
gu  SRittag  gejpei§t. 

g  a  u  ji.    3d)  fenn  ib,n  nidjt    (bie  anbem  la^en). 

g  r  o  j  d).    O  er  ifl  eon  altem  ©ejd)led)t.    $at  eine  weitlaupge  gamilie. 

2ft  e  p  b,:    3b,r  jet)b  roobt  jeiner  Settern  einer. 

SB  r  a  n  b  e  r  (Uife  ju  Srof«).    @tect8  ein  !  ber  Be  rflebt  ben  9tumme(. 

g  r  o  j  d).  iBet)  SBurjen  ifi8  fatal,  ba  mug  man  jo  lang  auf  bie  gabre 
maudjmal  iuart^eu. 


348  APPENDIX   II. 

g  a  u  ft.    @o ! 

@  i  e  b  e  I  (letfe).  ©ie  lommen  ait«  bent  9?eid)e  man  fleets  'en  an.  Safft 
fte  nnr  erft  fibcl  roevben.  —  ©et)b  ib,r  ^veunbe  won  cittern  fyergljaften  ©djlud ! 
£>erbet)  mit  end). 

9K  e  p  b, :  3mmer  gu.  (fte  fto&en  an  unb  trinten). 

^r  o  f  d).  Stan  §ernt  etn  Siebgen.  giir  einen  $rug  ein  Siebgen,  ba8  ifi 
biIUg. 

g  a  u  ft    3d)  fyabe  leine  ©timme. 

2ft  e  p  b, :  3d)  fing  etn«  fiir  mid),  giuet)  fiir  nteinen  Samnteroben,  t)itnbert 
roenn  it)r  tuollt,  wir  fontmen  au8  ©panien  wo  sJiad)t8  \o  tiiel  Sieber  gefnitgen 
toevben  al§  ©terne  am  ^intinel  fteb,n. 

S3  v  a  n  b  e  r  £>a§  Derba't  id)  mtr,  id)  I)affe  ba8  ©clltmpere,  auffer  wettn 
id)  einen  9taufd)  ^abe,  nub  fdjlafe  ba§  bie  3Belt  imtevgeb,en  biivfte.  —  giir 
Heine  2JJdbgen  ift8  fo  tt>a8  bie  nit  fdjtafen  fonnen,  nnb  ant  §£nfter  ftetyen 
2JJonben  Su^lung  einjjttfurfeln. 

ajiepb,:  [11.2207-8]. 

@  i  e  b  e  I    @tiEe !  §ord) !  @d)5ne  Marital !  jd)bne  2iebh,aberei) ! 
sJ?od)  ein  mal)I. 
[11.  2211-18]. 

@iebet     aBoh,!  gemefeen  !    SSob,!!    (fte  fdjlagen  in  ein  OeW^ter  au§) 

fte  nur  feiite  fatten  n>erfen ! 

3»epb,:  [11.  2223-40.] 

einanber.    S3ra»o  !  SSratto !    ©d)5n  unb  trefftid) !   S'Jodj 
ein  paav  ^riige !    ?{od)  ein  paar  Sieber. 

g  an  ft.  $feine  §erren !  2)er  SBein  gcljt  an !  ©ef)t  an  ttne  in  ?eip;ig 
bie  255eine  alle  angeb,n  mu[fen.  ®od)  biindft  mid)  if)r  wiirbet  erlaubcn  bag 
man  end)  an8  einem  anbern  gaffe  gap  fte. 

@iebet  §abt  i^r  einen  eignen  ileUev?  ^anbett  ib,r  mit  SBeinen? 
@eib  ih,r  »teEeid)t  Won  benen  ©djelmen  an«  'in  9ieid)  ?  — 

2tlten.  iffiart  ein  biffgen  (er  fte^t  auf)  3d)  b,ab  fo  eine  ^robe,  ob  id) 
Weiter  trinfen  barf.  (®r  tna^t  bie  2lugen  ju  unb  fteljt  eine  Sffieile)  9f  tin  !  nun! 
ba§  SbpfgeH  fd)tt>ancft  fdjon ! 

@  i  e  b  e  t  $al) !  eine  ^af^e !  3d)  n>iE«  »or  ©ott  tierantroorten  unb  »or 
beiner  gra"w.  (Suren  SBein ! 

g  a  u  ft.    ©djafft  mir  einen  33ob,rer. 

^  r  o  f  d).    3)er  SBirtb,  I)at  fo  ein  Corbel  mit  SBerrfjeng  in  ber  (Scte  ftel)n. 

g  a  u  ft.    (nimmt  ben  Sourer)    ®ut !    2Ba8  ueclangt  itjr  fiir  SBein  ? 


APPENDIX  n.  349 


g  a  u  ft    2Ba«  fur  ciit  ©laSgen  mogtet  ib,r  trinfcn  ?    3d)  fd)aff«  eudj  ! 
g  r  o  f  d).    £e  !  £e  !    ©o  ein  ©la«  9Mnroein  adjten  ftierenfteiner. 

g  a  11  ft     ©Ut  !  (er  bofcrt  in  ben  2ifd»  an  grofaenS  Seite)     9?un  fdjafft  2Bad)«  ! 

31  1  1  e  n    2)a  ein  tferjen  ftitmpfgen. 
gaufl    @o!  (er  ftopft  ba§  20$)    §alt  ieyo  !  —  unb  ib,r? 
©iebel    3Jiu«faten  SScin!     ©pauifdjen  3Bein  ?onfl  leinen  Sropfen. 
3d)  toiU  nur  fe^n  wo  ba«  ^inauS  laufft. 

g  0  U  ft  (bo^rt  unb  nerflopft)     2Ba«  beliebt  cud)  ? 

a  1  1  e  n  9totb,en  SBein  !  (Sincn  granjSfdjen  !  —  ®ie  graujojen  fann  id) 
md)t  leiben,  fo  grojen  9tefpecft  id)  »or  iljren  SBein  b,ab. 

%  a  u  ft  (wie  oben)    5Run  it>a3  f  djafft  ib,r  ? 

S3  r  a  n  b  e  r    §att  er  un«  f  iir'n  Barren  ? 

g  a  u  ft    @d)neU  §err  nennt  einen  SBein  ! 

S  r  a  n  b  e  r    £oclat)er  bann  !  —  @oU  er  bod)  ntdjt  QU«  bem  2ifd)e  laufen. 

g  a  u  ft  ©title  iunger  §err  !  —  9iun  aufgefdjaiit  !  S)ie  ©lafer  unterge. 
^alteu.  Seber  giefye  ben  SBad)Spropffn  b,erau«  !  £>aff  aber  fein  Xropfen  an 
bie  (Srbe  fallt,  fonft  giebts  ein  Unglud  ! 

21  1  1  e  n    5Df  tr  »trb«  unb,eimlid).    S)er  b,at  ben  Xeufel. 

g  a  u  ft    Stugge^ogen  ! 

(Sie  )ieb.n  bie  ^fropfen,  jebem  laufft  ber  oerlangte  Bein  in'S  SlaS.) 

g  a  ii  ft    3u9eP°Pft-  Unb  nun  »erfud)t  ! 

@  i  e  b  e  1    2Bob,l  !  trefflid)  U)ob,I  ! 

SI  1  1  e    2Bob,l  !  ^ajeftatifd)  wojjt  !  —  SBiUfommner  ©aft 

(fie  trinfcn  n>ieberb,oli) 

3Ji  e  p  b,  :    @ie  ftnb  nun  eingefdjifft 
g  a  u  ft    ©eb,n  raiv  ! 
SDfepfy  :    9?od)  ein  2JJoment. 

2(  1  1  e  ftngen  [H.  2293-4.]  (©ie  trinfen  wieber^olt,  Stebel  I8ffl  ben  $fropf  faDen. 
e3  flieSt  auf  bie  Stcine  unb  roirb  }ur  ,>lamme  bie  an  Siebcln  ^inauf  lobcrt.) 

©  i  e  b  e  I.    ^)oUe  unb  Xeufel  ! 
S3ranber    ^auberet)  !  ^anbere*)! 

g  a  U  ft  Sagt  id)«  eud)  Ilidjt.  (er  cerftopft  bie  Deffnung  unb  fprid^t  einige 
SBorte,  bie  glamme  flte^t-) 

@  i  e  b  e  1.     ^>err  nnb  ©atan  !  —  3Ke^nt  er,  rr  burft  iu  eb,rlid)e  ©efettfdjaft 
fid)  uiadjen  unb  fein  $blli)'d)e«  $>ofu«pofu«  tveibcn. 
g  a  u  ft    ©tiQe  SKaftfdjroein  ! 
©  i  e  b  e  1.    5Diir  ©djwein  !  2>u  SBcfenftiel  !  33rubcr  !  ©djlagt  ib,n  jnfain- 


350  APPENDIX   II. 

men,  ©tost  iljn  niebcr !  (fie  jieijn  bie  5Btefier)  Gin  gauberer  ift  SSogelfret) ! 
ben  9tci(f)Sgefe<jen  SBogelfrel). 

(@ie  rooHen  ttber  gauften  b,er,  er  hrinrft,  fte  fteljn  in  froljetn  ©rftaunen  auf  eintnal  unb 
fefyen  einanber  an.) 

©iebel    2Ba«  fef)  id) !  SBeinberge ! 
S3  r  a  n  b  e  r    Srauben  urn  biefe  3ahr8  jeit. 
21 1 1  e  n    SBte  reif !  rtne  fd)on ! 

g  r  0  f  cf)     ^alt  ba8  tft  bte  flfjonfte !  (fie  gmfen  ju,  Iriegen  etnanber  6e?  ben 
iRafett,  unb  ^eben  bic  SKeffer) 

%  a  u  ji    §alt !  —  ®eb,t  unb  fcfjlaft  euren  9tauf^  au« ! 

(Jauft  unb  TOep^  :  ab.  (S3  ge^en  i^nen  bie  Slugen  auf,  fie  fafyren  tnit  (SeWre^  au§  einanber.) 

©tebel    arteine  ^Jfafe !  2Bar  bag  beine  ?Jaje  ?  SBaven  baS  bie  Srouben? 
28o  ift  er  ? 

S3  r  a  n  b  e  r    govt !   (S8  tuar  ber  £euf  el  jelbjl. 
5^  r  o  f  d)    3c^  b,ab  iljn  auf  einent  gaffe  l^inaiiS  reiten  feb,n. 
31 1 1  e  n    §ajl  bit !  £>a  ifi  gewig  auf  bem  SPiavcft  nit  ftcb,er  —  2Bie  lorn* 
men  rotr  nad)  §aufe. 

^Branber    ©iebel  gef)  gu  erfi ! 
©tebel    ^ein  Sftarr. 

grofd).     Sommt  wir  mecten  bie  §afd)er  nnterm  9tatb,au8,  fitr  ein 
Srindtgelb  ttjun  bie  roob,l  tb,re  ©cljulbigleit.    gort! 

©  i  e  b  e  I    ©ollte  nioljt  ber  SBcin  nod)  taufen.    (er  oifitirt  bie  ipfropfen.) 
21 1 1  e  n    23tlbt  bir«  nidjt  ein !    £rocfeu  rcie  §olg ! 
g  r  o  ]"  d)    gort  ih,r  33urfd)e !    gort !  (afle  ab.) 
2609-10.     U  has  : 

3)a«  ifl  ein  fyerrlid)  fd)6ne«  ^tnb 

®te  b,at  »a8  in  ntir  angejiinbt. 
2674-77.     U  has : 

@r  tb,ut  als  War  er  ein  giirften  ©o^n 

§att  Sujtfer  fo  ein  Sugjenb  ^Jriujen 

2)ie  follteu  ib,m  fdjou  iua«  oermiingen 

2lm  Snbe  friegt'  er  eine  (Sommiffton. 
2735-6.     U  has : 

3d)  fag  eud)  e«  ftnb  ©adjen  brein 

llm  cine  guvftin  311  gen)iunen. 
2760-64.     Cf.  note. 

2785.    U  has :  2Ba8  ©ucfgucf  mag  babrinne  fein? 
2814.     Between  this  and  1.  2815  U.  has : 


APPENDIX  n.  351 

einer  aud)  (Sngelgblut  im  Setbe, 
<5r  njfirbe  ba  gum  $eering«  SBeibe. 

3031-2.     U  has : 

gait  ft.        @ie  ifl  mir  Iieb. 

2ft  e  P  lj :  ®od)  geb,t8  nirfit  gang  umfiinft, 

(Sine  ©unfl  ift  roertf)  ber  anbern  ©unft. 
3346-7.     U  has : 

3)a«  burd)  erfdjiittern  burdjerroarmen  ? 

SSerbrangt  e«  biefe  @ee(en  9iotb. 
3483.    U  has : 

@8  ifl  ein  f  <m$  n)ie'«  mebv  noc^  geben. 

3775+-  The  heading  is  in  U  :  2)om.  Gjequien  ber  Sautter  ®retgen«. 
©retgen  aUe  SSemanbte.  Slmt,  Orgel  unb  ©efang  SBofer  ©eift  binter 
©retgeiu 

3780.    U  has :  S)etnen  ©ebeten  nad)laQtefi. 
3791-2.     U.  has : 

@d)lagt  ba  nidjt  quittenb  fd)on, 

S3ranbfd)anbe  3Kaalgeburt ! 
4405-612.     The  text  of  this  scene  reads  in  U  : 

•  Verier. 

5  a  U  fl  mil  etnem  Sunb  ®$iaf)el  unb  einer  Sompe  an  etnem  eifernen  Zflrgen. 
@8  fafft  mid)  langft  Dcrwoljnter  ©djauer.    3nnere8  ©rauen  ber  2Wenf(^« 
belt.    §ier !  £ier !  —  Slttf !  —  2)ein  3agen  gogert  ben  £obt  beran. 

(er  fafft  ba§  @4Ioff  e§  r«"8t  innjenbig.)     [U.  4412-20.] 

jt  a  II  ft  (jittert  n>on(t  ermannt  ftc§  unb  fc^Iiegt  auf ,  er  $ort  bie  Hetten  flirren  unb  baS 
gtro^  raufc^en.) 

3Ji  a  r  g  a  r  e  t  b  e  (ft^  oerbergenb  auf  i^rem  Eager.)  SBeb,!  SBeb !  fte  fornmen. 
SBittrer  Sobt ! 

ft  a  It  ft  (letfe)  @tifl  !  3d)  fomme  bid)  JU  befretjn.  (erfafft  i^re  «etten  fte  auf. 
jufdjlteffen) 

SJiarg:  (roebrenb)  2Beg !  Um  2ftitternad)t !  Render  ift  bir'«  tnorgrn 
friibe  nidjt  jeitig  gnug. 

goitft    8affl 

SDiarg:  (maist  fta>  oor  i&n  bin)  (Srbarnte  bid)  mein  unb  lafj  mid)  leben! 
3d)  bin  fo  iung,  fo  iung,  unb  groar  fdjon  unb  bin  ein  armed  hinges  SRabgen. 
@icb,  nur  etnmal  bie  25lumeu  an,  fte^  nur  etnmal  bie  Sron.  (Srbarme  bid) 
mein !  2Ba3  bab  id)  bir  getban  ?  §ab  bid)  mein  Sage  nid)t  gefebn. 


352  APPENDIX   II. 

^  a  it  ft.    @ie  berirrt  unb  id)  tiermagg  ntrfjt. 

2ft  a  r  g :  @icb,  ba3  $inb !  2ftuff  itf)'§  bod)  tranfen.  3)a  Ijatt  id)'«  eben ! 
2)a !  3d)  b,ab8  getrandt !  @ie  natjmen  mir§,  unb  fagen  id)  b,ab  e«  umgebradit, 
itnb  ftngen  Siebgcr  aitf  raid) !  —  @«  ift  nid)t  rcafyr  —  e8  ift  ein  2JJargen  ba8 
ftd)  fo  enbigt,  e«  ift  md)t  auf  mid)  bag  @ie'3  ftngen. 

§  a  II  ft  (ber  ft*  ju  i&r  Ijinnrirft)  ©retgen  ! 

3ft  a  r  g  r :  (bie  firf>  aufretst)  SBo  ift  er !  3d)  b,ab  ib.n  riifen  tjoren !  cr  rief 
©retgen !  (Sr  rief  mir !  2Bo  ifl  er !  9td)  burd)  aE  ba8  §euten  unb  ,3al)n* 
Happen  erlenn  id)  th,n,  er  ruft  mir :  ©retgen !  (St$  oor  i^m  nieberroerfenb) 
2Jiann !  2JZann !  ©ieb  mir  ib,n  fdjoff  mir  ib/a !  2«o  ift  er  I 

5  a  U  fit  (erfafjt  fte  routenb  urn  ben  £aI5)  2JJeine  i'iebe !  2Mne  Siebe ! 

9JJ  a  r  g  r  :  (ftnctt  i^r  ^aupt  in  feinen  <Hcf)oo§  nerbetgenb) 

g  a  u  ft  5lnf  meine  i'iebe !  ®ein  2Jiorber  rcirb  bein  Sefretjer.  2lnf !  — 
(®r  f^liefft  iiber  i^rer  SBetaubung  bie  2lrm  fiette  auf)  ^omm,  nrir  entgeljen  bem 
jdjrodUdjen  @d)idfaal. 

2ft  a  r  g  r  (angeie^nt)  Mffe  mid) !  ^iiffe  mid) ! 

i5  a  u  fl    'Xaufenbmal !  9Jitr  eile  ©retgen  eile ! 

Sftargr:  fiiffe  mid)!  ifannfl  bu  md)t  meljr  liiffen?  2Bie!  2Ba8! 
33ift  mein  §einrid)  unb  b,aft'8  liiffen  Berlernt !  SBie  fonft  ein  gather  §tm» 
met  mit  beiner  llmarmung  geroaltig  itber  mid)  etnbraug.  SBie  bit  Fitffteft 
at«  ttjotlteft  bu  mid)  in  mollitfttgem  Xob  erfticfen.  ^etnrid)  fitffe  mid),  fonfl 
f iiff  id)  bid)  (fte  faat  t^n  an)  SBeb, !  beine  Sippen  ftub  lalt !  £obt !  Slntroorten 
nidjt! 

g  a  u  jl   gotge  mir,  id)  b,erje  bid)  mit  taufenbfadjer  ©tut.   5Ritr  folge  mir. 

3Ji  a  r  g  r  :    (6ie  |e|t  ft*  unb  btetbt  eine  Seitlang  ftitte)    £etnrid)  btft  blt'8  ? 

g  a  u  ft    3d)  bin'8.    $omm  mit. 

2«arg:  3d)  begreiffs  ntd)t !  »u?  ®ie  geffeln  Io« !  »efre^fl  mid). 
2Ben  befre^fl  bu  ?  SBeift  bu'8  ? 

gauft.    Contra!  Contra ! 

2JJorgr:  2Jieine  9Kutter  b,ab  id)  umgebradjt !  3Jiein  finb  tjab  id) 
ertrandt.  25ein  $tnb !  §einrid) !  —  ©rofer  ©ott  im  ^imniet  foE  baS  fetn 
Sraum  fet)n !  beine  §anb  §einrid) !  —  @ie  ift  feudjt  —  SBifdje  fte  ab  id) 
bitte  bid) !  @«  ift  S3lntbron  — ©tecfe  benSegen  ein !  2Mn$opf  ift  oerriictt. 

g  a  u  ft.    ©u  bring  ft  mid)  um. 

2Ji  a  r  g  r  :  -Kent  bu  foUjl  iiberbtetben,  itberbteiben  won  aEen.  28er 
jorgte  fiir  bie  ©raber !  @o  in  eine  SRetfye  id)  bitte  bid),  neben  bie  SUhtttcr 
ben  S3ruber  ba !  iDHd)  bal)in  unb  mein  $teine8  an  bie  redjte  23ruft.  ©ieb 
ntir  bie  §anb  brauf  bit  bift  mein  §einrid). 


APPENDJX  n.  353 

^  a  11  ft  (roia  f«e  roeg  si«$en)  giib,Ift  bu  mid) !  £orft  bll  mid) !  fomm  id) 
bins  id)  befretye  bid). 

2Ji  a  r  g  r :    3)a  b,inaus. 

g  a  u  ft    gret)b,eit ! 

2ftargr:  2>a  b,inau«!  9Ud)t  urn  Me  SBelt.  3ft  ba«  ®rab  brans, 
fomm  !  Sauert  ber  Sobt !  fomm.  Son  b,ier  in'S  enMge  3tub,e  Sett  tueiter 
nid)t  einen  ©djritt.  2ld)  £einrid)  fount  id)  mit  bir  in  aHe  SBelt. 

g  a  it  ft.    2)er  ^erfer  ift  offen  faume  nic^t. 

2R  a  r  g  r :    @ie  lauren  auf  mic^  an  ber  ©trafe  am  SBalb. 

gauft.    §inau§!  §tnau8! 

2Jt  a  r  g  r :  Unt8  Seben  nic^t  —  @ieb,ft  bu'S  jappcln !  SRette  ben  armen 
SSurnt  er  jappelt  nod)!  —  gort!  gefcfjroinb!  9Jnr  itbern  @teg,  gcrab  in 
SBalb  Ijinein  Itnf«  am  £eid)  roo  bie  s^Ianfe  ftetjt.  gort !  rette !  rette! 

gauft    9tette!    SRette  bit^l 

2Ji  a  r  g  r :  SSaren  wir  nitr  ben  S3erg  borbet),  ba  fij$t  meine  2Rutter  auf 
einem  @tein  unb  njadelt  mit  bem  $opf !  @ie  roincft  nia^t  fte  nicft  nid)t,  tb,r 
^opf  ift  ib,r  fdjroeer.  ©ie  follt  fd)lafen  ba§  roir  fbnnten  madjen  unb  un8 
itenen  bet)fammen. 

g  a  n  ft  (ergreift  fte  unb  join  fte  roegtragen) 

5Ui  a  r  g  r :    3d)  fdjrehe  laut,  lout  baff  atteS  erroadjt. 

g  a  u  ft    ©er  Sag  grant.    £)  Stebgen !  2iebgen ! 

2R  a  r  g  r :  Xag  !  @S  wirb  Sag  !  SDer  lejte-  Sag !  5)er  £od)jett 
Sag !  —  @ag8  niemnttb  baff  bu  bie  ^ad)t  »orb,er  be^  ©vetgen  hiarfl.  — 
Uiein  ^rdn^gen !  —  SBir  felm  un8  raieber !  —  §orft  bu  bie  Surger  fdjliir- 
pfen  nur  iiber  bie  ©affrn!  £orfl  bu!  ^ein  lante«  SBort.  2>ie  Olode 
ruft!  —  ifrarf  ba«  ©tabgen  bridjt!  —  e«  gurft  in  iebem  9tacfen  bie  ©ajarfe 
bie  nad)  meinem  jucft !  —  2)ie  ©lode  b,or. 

2Ji  e  p  b, :  erf^eint.  3luf  ober  ib,r  fetib  Derlob,ren,  meine  ^ferbe  fdjaubern, 
ber  2ftorgen  bdmmcrt  auf. 

33?  a  r  g  :  2)er !  ber !  ?aff  ib,n  fdjitf  ib,n  fort !  3>er  roiH  mid) !  9?ein ! 
sJ?ein !  ®erid)t  ®otte«  fomm  fiber  mid),  bein  bin  id) !  rette  mid)  I  dimmer 
nimmermeb,r !  2luf  ereig  lebe  rooljt.  J?eb  roob,!  ^einrid). 

g  a  u  ft  fte  umfaffenb.    3d)  laffe  bid)  nid)t ! 

3R  a  r  g  r.  3b,r  Ijeiligcn  (Sngel  beroafyret  meine  @eele  —  mir  grants  tor 
bir  §einrid). 

3Ji  e  p  b, :  @ie  ift  gertdjtet !  (er  oerf$»inbet  mit  gaufl,  bie  $Wre  raffelt  ju  man 
^ort  oet^anenb)  ^einrid) !  £einrid) ! 


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Professor  Wells  of  the  University  of  the  South.  25  cts. 

Francois's  Phosphorus  Hollander.    With  notes  by  Oscar  Faulhaber.  20  cts. 

Moser'S  Kb'pnickerstrasse  120.  A  comedy  with  introduction  and  notes  by 
Professor  Wells  of  the  University  of  the  South.  30  cts. 

Moser's  Der  Bibliothekar.  Comedy  with  introduction  and  notes  by  Pro- 
fessor Wells  of  the  University  of  the  South.  30  cts. 

Drei  kleine  Lustsp1  le.  Giinstige  Vorzeichen,  Der  Protest,  Einer  muss  hri- 
raten.  Edited  with  notes  by  Professor  Wells  of  the  University 
of  the  South.  30  cts. 

Helbig's  Kombdie  auf  der  Hochsrhule.  With  introduction  and  notes  by 
Professor  Wells  of  the  University  of  the  South.  30  cts. 


Deatb's  flDofcern  ^language  Series. 

mTERMEDIATE  GERMAN  TEXTS.    (Partial  List.) 

Schiller's  Der  Geisterseher.    Part  I.    With  notes  and  vocabulary  by  Pro. 

f essor  Joynes,  So.  Carolina  College.    30  cts. 
Selections  for  Sight  Translation.    Fifty  fifteen-line  extracts  compiled  by 

Mme.  G.  F.  Mondan,  High  School,  Bridgeport,  Conn.     15  cts. 
Selections  for  Advanced  Sight  Translation.    Compiled  by  Rose  Chamber- 

lin,  Bryn  Mawr  College.    15  cts. 

Beneduc'8  Die  Hochzeitsreise.     With  notes  by  Natalie  Schiefferdecker,  of 

Abbott  Academy.    25  cts. 
Aus  Herz  und  Welt.     Two  stories,  with  notes  by  Dr.  Wilhelm  Bernhardt. 

25  cts. 
Novelletten-Bibliothek.    Vol.  I.    Six  stories,  selected  and  edited  with  notes 

by  Dr.  Wilhelm  Bernhardt.     60  cts. 
Novelletten-Bibliothek.    Vol  II.     Six  stories  selected  and  edited  as  above. 

60  cts. 

Unter  dem  Christbaum.     Five  Christmas  Stories  by  Helene  StSkl,  with 

notes  by  Dr.  Wilhelm  Bernhardt.    60  cts. 
Hoffman's  Historische  Erzahlungen.    Four  important  periods  of  German 

history,  with  notes  by  Professor  Beresford-Webb  of  Wellington 

College,  England.    25  cts. 
Wildenbruch's  Das  edle  Blat.     Edited  with  notes  by  Professor  F.  G.  G. 

Schmidt,  University  of  Oregon.    20  cts. 
Wildenbruch's  Der  Letzte.     With  notes  by  Professor  F.  G.  G.  Schmidt,  of 

the  University  of  Oregon.    25  cts. 
Wildenbruch's  Harold.  With  introduction  and  notes  by  Professor  Eggert. 

35  cts- 

Stifter's  Das  Haidedorf.  A  little  prose  idyl,  -with  notes  by  Professor 
Heller  of  Washington  University,  St.  Louis.  20  cts. 

Chamisso's  Peter  Schlemihl.  With  notes  by  Professor  Primer  of  the  Uni- 
versity of  Texas.  25  cts. 

Eichendorff's  Aus  dem  Leben  eines  Taagenichts.  With  notes  by  Pro- 
fessor Osthaus  of  Indiana  University.  35  cts. 

Heine's  Die  Harzreise.  With  notes  by  Professor  Van  Daell  of  the  Massa- 
chusetts Institute  of  Technology.  25  cents. 

Jensen's  Die  braune  Erica.  With  notes  by  Professor  Joynes  of  South 
Carolina  College.  2;  cts. 

Holberg'8  Niels  Klim.  Selections  edited  by  E.  H.  Babbitt  of  Columbia 
College.  20  cts. 

Lyrics  and  Ballads.  Selected  and  edited  with  notes  by  Professor  Hatfield, 
Northwestern  University.  75  cts. 

Meyer's  Gustav  Adolfs  Page.  With  full  notes  by  Professor  Heller  of 
Washington  University.  25  cts. 

Sudermann's  Der  Katzensteg.  Abridged  and  edited  by  Professor  Wells 
of  the  University  of  the  South.  40  cts. 

Dahn'a  Sigwalt  and  Sigridh.  With  notes  by  Professor  Schmidt  of  the 
university  of  Oregon.  25  cts. 

Keller's  Romeo  ond  Julia  aof  dem  Dorfe.  With  introduction  and  notes 
bv  Professor  W.  A.  Adams  of  Dartmouth  College.  30  cts. 

Banff's  Lichtenstein.  Abridged.  With  notes  by  Professor  Vogel,  Ma««, 
Inst.  of  Technology,  oo  cts. 


Deatb's  flDofcern  Xanauage  Series. 

ADVANCED  GERMAN  TEXTS. 

Scheffel's  Trompeter  von  SakMngen.  Abridged  and  edited  by  Professor 
Wenckebach  of  Wellesley  College.  Illustrated.  65  cts. 

Scheffel'a  Ekkehard.  Abridged  and  edited  by  Professor  Carla  Wenckebach 
of  Wellesley  College.  Illustrated.  70  cts. 

Freytag's  Soil  und  Haben.  Abridged.  With  notes  by  Professor  Files  of 
Bowdoin  College.  65  cts. 

Freytag's  Aus  den  Kreuzugen.  With  notes  by  Professor  Shumway, 
University  of  Pennsylvania,  oo  cents. 

Freytag's  Aus  dem  Staat  Friedrichs  des  Grossen.  With  notes  by  Pro- 
fessor Hagar  of  Owens  College,  England.  25  cts. 

Freytag's  Aus  dem  Jahrhundert  des  grossen  Krieges.  Edited  by  Pro- 
fessor Rhoades,  of  the  University  of  Illinois.  35  cts. 

Freytag's  Rittmeister  von  Alt-Rosen.  With  introduction  and  notes  by 
Professor  Hatfield  of  Northwestern  University.  60  cts. 

Lessing's  Minna  von  Barnhelm.  With  notes  and  introduction  by  Pro- 
fessor Primer  of  the  University  of  Texas.  60  cts. 

Lessing's  Nathan  der  Weise.  With  introduction  and  notes  by  Professor 
Primer  of  the  University  of  Texas.  90  cts. 

Lessing's  Emilia  Galotti.  With  introduction  and  notes  by  Professor 
Winkler  of  the  University  of  Michigan.  60  cts. 

Goethe's  Sesenheim.  From  Dichtung  und  Wahrheit.  With  notes  by 
Professor  Huss  of  Princeton.  25  cts. 

Goethe's  Meisterwerke.  Selections  in  prose  and  verse,  with  copious  notes 
by  Dr.  Bernhardt  OK'  Washington.  11.25. 

Goethe's  Dichtung  und  Wahrheit.  (1-IV.)  Edited  by  Professor  C.  A. 
Buchheim  of  King's  College,  London,  go  cts. 

Goethe's  Hermann  und  Dorothea.  With  notes  and  introduction  by  Pro- 
fessor Hewett  of  Cornell  University.  75  cts. 

Goethe's  Iphigenie.  With  introduction  and  notes  by  Professor  L.  A. 
Rhoades  of  the  University  of  Illinois.  65  cts. 

Goethe's  Torquato  Tasso.  With  introduction  and  notes  by  Professor 
Thomas  of  Columbia  University.  75  cts. 

Goethe's  Faust.  Part  I.  With  introduction  and  notes  by  Professor  Thomas 
of  Columbia  University.  |i.i2. 

Goethe's  Faust.  Part  II.  With  introduction  and  notes  by  Professor 
Thomas  of  Columbia  University.  11.50. 

Heine's  Poems.  Selected  and  edited  with  notes  by  Professor  White  of 
Cornell  University.  75  cts. 

Walther's  Meereskunde.  (Scientific  German.)  Notes  and  vocabulary 
by  S.  A.  Sterling  of  the  University  of  Wisconsin.  75  cts. 

Gore's  German  Science  Reader.  Introductory  reader  in  Scientific  German, 
with  notes  and  vocabulary.  75  cts. 

Hodge's  Scientific  German.  Selected  and  edited  by  Professor  Hodges, 
formerly  of  Harvard  University.  75  cts. 

Wenckebach's  Deutsche  Literaturgeschichte.  Vol.  I  (to  noo  A.D)  with 
Musterstiicke.  50  cts. 

Wenckebach's  Meisterwerke  des  Mittelalters.  Selections  from  German 
translations  of  the  masterpieces  of  the  Middle  Ages.  $1.26. 

Dahn's  Bin  Kampf  urn  Rom.  Abridged  and  edited  with  notes  by  Professor 
Wenckebach  of  Wellesley  College.  70  cts. 

Goethe's  Poems.  Selected  and  edited  by  Professor  Harris  of  Adelbert 
College.  90  cts. 


Iteatb's  flDo&ern  %an0ua$e  Series* 

FRENCH  GRAMMARS  AND  READERS. 

Edgren's  Compendious  French  Grammar.  Adapted  to  the  needs  of  the 
beginner  and  the  advanced  student.  $1.12. 

Edgren's  French  Grammar,  Part  I.  For  those  who  wish  to  learn  quickly 
to  read  French.  35  cts. 

Fxaser  and  Squair's  French  Grammar.  Complete  and  practical.  For  be- 
ginners and  advanced  students.  $1.12. 

Grandgent's  Essentials  of  French  Grammar.  With  numerous  exercises 
and  illustrative  sentences.  $1.00. 

Grandgent's  Short  French  Grammar.  Phonetic  help  in  pronunciation. 
Exercises,  see  below.  60  cts. 

Grandgent's  Frencn  Lessons  and  Exercises.  Necessarily  used  with  the 
SHORT  FRENCH  GRAMMAR.  First  Year's  Course  for  High 
Schools,  No  i ;  First  Year's  Course  for  Colleges,  No.  i .  i  ^  cts.  each . 

Grandgent's  French  Lessons  and  Exercises.  First  Year's  Course  for 
Grammar  Schools.  25  cts.  Second  Year's  Course  for  Grammar 
Schools.  30  cts. 

Grandgent's  Materials  for  French  Composition.  Five  pamphlets  based  on 
La  Pipe  de  Jean  Bart,  La  dernitre  classe,  Le  Siege  de  Berlin, 
Peppino,  L'Abbe  Constantin,  respectively.  Each,  12  cts. 

Grandgent's  French  Composition.  Elementary, "progressive  and  varied 
selections,  with  full  notes  and  vocabulary.  50  cts. 

Bouvet's  Exercises  in  Syntax  and  Composition.  With  notes  and  vocab- 
ulary. 75  cts. 

Clarke's  French  Subjunctiv  Mood.  An  inductive  treatise,  with  exer- 
cises. 50  cts. 

Hennequin's  French  Modal  Auxiliaries.  -With  exercises  in  composition 
and  conversation.  50  cts. 

Kimball's  Materials  for  French  Composition.  Based  on  Colombo,  for 
second  year's  work ;  on  La  Belle-Nivernaise,  and  also  one  on  La 
Tulipe  Noire,  for  third  year's  work.  Each  12  cts. 

Storr's  Hints  on  French  Syntax.     With  exercises.    30  cts. 

Marcou's  French  Review  Exercises.     With  notes  and  vocabulary.    20  cts. 

Houghton's  French  by  Reading.  Begins  with  interlinear,  and  gives  in  the 
course  of  the  book  the  whole  of  elementary  grammar,  with  reading 
matter,  notes,  and  vocabulary.  $1.12. 

Hotehtoss's  Le  Premier  Livre  de  Francais.  Conversational  introduction  to 
French,  for  young  pupils.  Boards.  Illustrated.  79  pages.  35  cts. 

Fontaine's  Livre  de  Lecture  et  de  Conversation.  Combines  Reading, 
Conversation,  and  Grammar,  with  vocabulary.  90  cts. 

Fontaine's  Lectures  Courantes.  Can  follow  the  above.  Contains  Reading, 
Conversation,  and  English  Exercises  based  on  the  text.  Ji.oo. 

Lyon  and  Larpent's  Primary  French  Translation  Book.  An  easy  begin- 
ning  reader,  with  very  full  notes,  vocabulary,  and  English  exer- 
cises based  on  the  latter  part  of  the  text.  60  cts. 

Super's  Preparatory  French  Reader.  Complete  and  graded  selections  of 
interesting  French,  with  notes  and  vocabulary.  70  cts. 

French  Fairy  Tales  (Joynes).  With  notes,  vocabulary,  and  English  exer- 
cises based  on  the  text.  35  cts. 

Davies's  Elementary  Scientific  French  Reader.  Confined  to  Scientific 
French.  With  notes  and  vocabulary.  40  cts. 

Heath's  French-English  and  English-French  Dictionary.  Fully  adequate 
for  the  ordinary  wants  of  students.  Retail  price,  #1.50. 


A&ofcern  XartQuage  Series. 

ELEMENTARY  FRENCH  TEXTS. 

Mairet'S  La  Ttche  du  Petit  Pierre.    Notes,  vocabulary,  and   English 

exercises  by  Professor  Super,  Dickinson  College.    35  cts. 
Bruno's  Tour  de  la  France  par  deux  Enfants.    Notes  and  vocabulary  by 

C.  Fontaine,  High  Schools,  Washington,  B.C.    45  cts. 
Jules  Verne's  L'Expedition  de  la  Jeune  Hardie.    With  notes,  vocabulary 
and  appendixes  by  W.  S.  Lyon.    25  cts. 

Gervais's  Un  Cas  de  Conscience.  With  notes,  vocabulary,  and  appendixes 
by  R.  P.  Horsley.  25  cts. 

Genin's  Le  Petit  Tailleur  Bouton.  With  notes,  vocabulary,  and  appendixes 
by  W.  S.  Lyon.  25  cts. 

Assolant's  Une  Aventure  du  Celebre  Pierrot.  With  notes,  vocabulary, 
and  appendixes  by  R.  E.  Piin.  25  cts. 

Mullet's  Les  Grandes  Decouvertes  Modernes.  Photography  and  Tele* 
raphy.  With  notes,  vocabulary,  and  appendixes  by  F.  E.  B 
Wale.  25  cts. 

Recits  de  Guerre  et  de  Revolution.  Selected  and  edited,  with  notes,  vocab- 
ulary, and  appendixes  by  B.  Minssen.  25  cts. 

Bruno's  Les  Enfants  Patriotes.  With  notes,  vocabulary,  and  appendixes 
by  W.  S.  Lyon.  25  cts. 

Bedolliere's  La  Mere  Michel  et  son  Chat.  With  notes,  vocabulary,  and 
appendixes  by  W.  S.  Lyon.  25  cts. 

Legouve  and  Labiche's  La  Cigale  chez  les  Fourmis.  A  comedy  in  one 
act,  with  notes  by  W.  H.  Witherby.  20  cts. 

Labiche  and  Martin's  Le  Voyage  de  M.  Perrichon.  A  comedy ;  notes  and  vo- 
cabulary by  Professor  Wells  of  the  University  of  the  South.  30  cts. 

Labiche  and  Martin's  La  Poudre  aox  Yeux.  Comedy ;  notes  and  vocabu- 
lary by  Professor  Wells  of  the  University  of  the  South.  30  cts. 

Dumas's  L'Evasion  du  Due  de  Beaufort.    Notes  by  D.  B.  Kitchen.  25  cts. 

Dumas's  Monte-Cristo.  With  notes  by  I.  H.  B.  Spiers,  Wm.  Penn  Char- 
ter School,  Philadelphia.  30  cts. 

Assollant's  Recits  de  la  Vieille  France.  With  notes  by  E.  B.  Wauton. 
25  cts. 

Berthet's  Le  Pacte  de  Famine.     With  notes  by  B.  B.  Dickinson.    25  cts. 

Erckmann-Chatrian'8  L'Histoire  d'un  Paysan.  With  notes  by  W.  S. 
Lyon.  25  cts. 

France's  Abeille.  With  notes  by  C.  P.  Lebon  of  the  Boston  English  High 
School.  25  cts. 

La  Main  Malheureuse.  With  complete  and  detailed  vocabulary,  by  H.  A. 
Guerber,  Nyack,  N.  Y.  25  cts. 

Enault's  Le  Chien  du  Capitaine.  Notes  and  vocabulary,  by  C.  Fontaine, 
Director  of  French,  High  Schools,  Washington,  D.  C.  35  cts. 

Trois  Contes  Choisis  par  Daudet.  (Le  Siege  de  Berlin,  La  derntere  Class*t 
La  Mule  du  Pafe.)  With  notes  by  Professor  Sanderson.  15  cts. 

Erckmann-Chatrian's  Le  Consent  de  1813.  Notes  and  vocabulary,  by  Pro- 
fessor  Super,  Dickinson  College.  45  cts. 

Selections  for  Sight  Translation.  Fifty  fifteen-line  extracts  compiled  by 
Miss  Bruce  of  the  High  School,  Newton,  Mass.  15  cts 

Laboulaye's  Contes  Bleus.  With  notes  and  vocabulary  by  C.  Fontaine, 
Central  High  School,  Washington,  D.  C.  35  cts. 

Malot's  Sans  Famille.  With  notes  and  vocabulary  by  I.  H.  B.  Spiers  of 
the  Wm.  Penn  Charter  School,  Philadelphia.  40  cts. 


f>eatb's  flDofcern  ^language  Series* 

INTERMEDIATE  FRENCH  TEXTS.    (Partial  List.) 
Dumas's  La  Tulipe  Noire.    With  notes  by  Professor  C.  Fontaine,  Central 

High  School,  Washington,  D.  C.     40  cts.    With  vocabulary, 

Socts. 
Erckmann-Chatrian's  Waterloo.     Abridged  and  annotated  by  Professor 

O.  B.  Super  of  Dickinson  College.    35  cts. 

About's  Le  Roi  des  Montagnes.  Edited  by  Professor  Thomas  Logie.  40  cts. 
Pailleron's  Le  Monde  ou  1'on  s'ennuie.    A  comedy  with  notes  by  Professor 

Pendleton  of  Bethany  College,  W.  Va.    30  cts. 
Souvestre's  Le  Man  de  Mme  de  Solange.    With  notes  by  Professor  Super 

of  Dickinson  College.    20  cts. 
Historiettes  Modernes,  Vol.  I.    Short  modern  stories,  selected  and  edited, 

with  notes,  by  C.  Fontaine,   Director  of  French  in  the  High 

Schools  of  Washington,  D.  C.     60  cts. 

Historiettes  Modemes,  Vol.  II.    Short  stories  as  above.    60  cts. 
Fleurs  de  France.    A  collection  of  short  and  choice  French  stories  of  recent 

date  with  notes  by  C.  Fontaine,  Washington.  D.  C.    60  cts. 
Sandeau's  Mile  de  la  Seigliere.    Witk  introduction  and  notes  by  Professor 

Warren  of  Adelbert  College.     30  cts. 
Souvestre's  Un  Philosophe  sous  les  Torts.     With  notes,  by  Professor 

Fraser  of  the  University  of  Toronto.    50  cts.    With  vocabulary. 

Socts. 
SouTBStre's  Les  Confessions  d'un  Ouvrier.    With  notes  by  Professor  Super 

of  Dickinson  College.     30  cts. 
Augier's  Le  Gendre  de  M.  Poirier.     One  of  the  masterpieces  of  modem 

comedy.    Edited  by  Professor  Wells  of  the  University  of  the 

South.    25  cts. 

Scribe's  Bataille  de  Dames     Edited  by  Professor  B.  W.  Wells.    30  cts. 
Scribe's  Le  Verre  d'eau.    Edited  by  Professor  C.  A.  Eggert.    30  cts. 
Merimee's  Colomba.     With  notes  by  Professor  J.  A.  Fontaine  of  Bryn 

Mawr  College.    35  cts.      With  vocabulary,  45  cts. 
Merimee's  Chronique  du  Regne  de  Charles  IX.    With  notes  by  Professor 

P.  Desages,  Cheltenham  College,  England.    25  cts. 
Musset's  Pierre  et  Camille.    Edited  by  Professor  O.  B.  Super.    20  cts. 
Jules  Verne's  Tour  du  Monde  en  quatre  vingts  jours.    Notes  by  Professor 

Edgren,  University  of  Nebraska.     35  cts. 
Jules  Verne's  Vingt  mille  lieues  sous  la  mer.     Notes  by  C.  Fontaine, 

High  School,  Washington,  D.C.    oo  cts. 
Sand's  La  Mare  au  Diable.    With  notes  by  Professor  F.  C.  de  Sumichrast 

of  Harvard.    25  cts. 
Sand's  La  Petite  Fadette.   With  notes  by  F.  Aston-Binns,  Balliol  College, 

Oxford,  England.     30  cts. 
De  Vigny's  Le  Cachet  Rouge.    With  notes  by  Professor  Fortier  of  Tulane 

University.     20  cts. 

De  Vigny's  Le  Canne  de  Jonc.    Edited  by  Professor  Spiers,  with  Introduc- 
tion by  Professor  Cohn  of  Columbia  University.    40  cts. 
HaWvy's  L'AbbS  Constantin.    Edited  with  notes,  by  Professor  Thomas 

Logie.     30  cts.     With  vocabulary,  40  cts. 
Thiers's  Expedition  de  Bonaparte  en  Egypte.     With  notes  by  Professor 

C.  Fabregou,  College  of  the  City  of  New  York.    25  cts. 
Gautier's  Jettatura.    With  introduction  and  notes  by  A.  Schinz,  Pb,D. 

of  Bryn  Mawr  College.    30  cts. 
Guerber's  Marie-Louise     With  vocabulary,    oo  cts. 


•  ';'"'';'M/!i!//lii/i|/|j|j 


